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#  FORMATION  AND  CULTIVATION 


1) 


A  COMPLETE  AND  PRACTICAL  METHOD  OF  VOCALIZATION, 


CONSISTING  OF  EVERY  VAKIETY  OF 


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^rogitssibl^i  Jrrangeb,  aitb  %hi^it)i  to  i\t  fomtts  of  beginners  anb  l^bbiinctb  pupils  in  ttc 


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BY    B.    F.    BAKER. 


Price  $1.50.    j^i 


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0ston: 

RUSSELL    &    RICHARDSON, 

(SOCCESSOBS  TO   GEO.   P.   REED   *  CO.,  AND  NATHAN  EICHARDSON,* 
NO.   391  WASHINGTON    STREET. 


fAUSlC  UBRARY 

UNIVERSITY 

OF  CALIFORNIA 

BERKEirr 


GIFT   OF 
Professor  S,  G.  Morley 


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^Si^r' 


BAXBR'S 


FORMATION  Al  CVLTIVATION 


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. » -• .  -• '  •  ■ 


%  €m\$\tk  anb:  ^rattkal 

METHOD   OF  YOCALIZATION, 

Consisting  of  €kvs  f  arietg  d 

SCALE  EXERCISES  AND  SOLFEGGIOS, 

PROGRESSIVEL.Y     ARRANGED, 

AND 

Adapted  to  the  wants  of  Beginners  and  Advanced  Pupils 


IN     THE 


HITWf 


BY  B.  F.  BAKER. 

Price,  $1,50. 
BOSTON: 
PUBLISHED     BY     RUSSELL    &    HICH^'^TIDS  OIs  ^ 

Ko.    291    WASHINGTON     STREET. 


(tK\}Z\Z  LIBRARY 
UNIVERSITY 
OF  CALIFORNIA 
BERKELEY 


^ 


133 


^^  f-^^-^*^ 


Entered,  according  to  Act  of  Congress,  in  the  year  1856,  by 

NATHAN   KICHARDSON, 

in  the  Clerk's  Office  of  the  District  Court  for  the  District  of  Massachusetts. 


8TEESOTTF£D  BT  A.  B.  KIDDEX. 


PREFACE. 


The  development  and  cultivation  of  the  voice  at  the  present  day,  is  regarded  as  an  important  branch  of 
education  by  all  classes  of  persons  who  can  avail  themselves  of  the  necessary  means. 

In  the  compilation  of  this  work,  the  author  has  had  access  to  every  work  of  celebrity  on  the  subject,  pub- 
lished either  in  this  country,  or  in  Europe  ;  and  the  selections  of  Scale  Exercises,  have  been  carefully  systemized, 
while  the  consecutive  order  of  the  solfeggios,  has  been  adapted  to  the  progressive  stages  of  the  pupil's  progress. 

The  exercises  will  be  found  easy,  and  progressive;  should  the  pupil  practice  each  in  course,  he  will  have 
prepared  himself  to  meet  the  difficulties  of  the  next  succeeding  lesson. 

By  transposing  the  scale  exercises  into  the  key  of  G,  or  A,  they  will  be  found  adapted  as  well  to  the  Bass, 
or  Alto,  as  they  are  now  in  the  key  of  C,  to  the  Soprano  or  Tenor  voices. 

The  selection  of  solfeggios  for  this  work,  has  been  made  with  no  less  reference  to  the  cultivation  of  the 
taste  of  the  pupil  for  good  music,  than  for  facility  in  execution,  and  the  formation  of  a  pure  and  a  chaste  style 
in  singing. 

The  two  standard  Bass  songs  in  the  last  part  of  this  work,  are  designed  to  be  sung  as  solfeggios,  by  those 
who  may  wish  to  relieve  the  severity  of  scale  practice  by  reverting  to  melodies  appropriate  to  their  compass 
of  voice. 

With  the  hope  that  this  method  will  have  a  fair  trial  in  the  hands  of  able  teachers  and  diligent  and  persevering 
pupils,  it  is  respectfully  submitted  to  the  public,  by 

THE    AUTHOR. 


823006 


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Drgitteed  by  the  Irfternet  Archive 

in  2008  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/bakersformationcOObakerich 


BAKER'S 


FORMATION  AND  CULTIVATION  OF  THE  YOICE. 


FOIl]yj:A.TION    OF    TON^E. 


Sound  is  the  sensation  produced  by  the  vibration  of  the  air  on  some  other  medium  with  which  the  ear  is  in 
contact  There  are  three  words  used  as  describing  the  sensations  produced  on  the  auditory  nerve,  viz  :  Sound, 
Noise  and  Tone.  Sound  is  a  general  term,  but  Noise  and  Tone  are  specific  terms.  Noise  is  that  kind  of  sound 
which  results  from  irregular,  interrupted  and  confused  vibrations,  -while  Tone  results  from  uniformly  even 
uninterrupted  vibrations.  Tone,  in  the  human  voice,  is  produced  by  the  exercise  of  the  vocal  organ,  and  other 
parts  called  into  requisition,  in  accordance  with  the  design  of  nature. 

A  well  organized  throat  seems  to  be  essential  to  the  formation  of  tone  ;  but  a  bad  voice  is  oftener  the  result 
of  neglect,  or  carelessness  on  the  part  of  the  singer  or  speaker,  than  the  effect  of  organic  difficulty.  In  a  general 
sense,  tone,  or  a  good  voice,  must  be  taught  by  imitation,  as  are  style  in  conversation,  good  manners,  and  the  like. 

In  the  early  stages  of  vocal  practice,  the  pupil  should  rid  the  voice  of  all  pectoral,  guttural,  or  nasal  qualities, 
and  until  this  be  accomplished,  all  practice  of  scales  and  other  exercises  may  not  advance  the  student,  but  rather 
serve  to  confirm  an  exceptionable  use  of  the  voice. 

The  pupil  should  commence  his  practice  by  learning  to  inflate  the  chest  by  a  single  deep  and  silent  inspiration, 
abstaining  carefully  from  any  sighing  or  sobbing  sound,  then  allowing  the  breath  to  escape  as  slowly  and  gradually 
as  possible  ;  this  should  be  repeated  till  the  pupil  can  fill  the  lungs  completely  at  one  effort,  and  moreover  till 
it  come  to  be  a  matter  of  habit. 

The  learner  must  stand  erectly,  resting  the  weight  of  the  body  on  both  feet  equally,  and  the  head  kept 
steadily  in  its  proper  position,  inclining  neither  to  the  right  or  left;  in  short,  let  the  attitude  be  easy  and  graceful. 

* 

Let  the  tone  be  formed  in  the  back  part  of  the  mouth,  behind  the  veil  of  the  palate,  and  let  it  issue 
unaccompanied  by  any  wheezing,  gurgling,  or  reedy  sound.  The  mouth  should  be  opened  sufficiently  wide  to 
emit  the  tone  freely,  not  however  so  wide  as  to  distort  the  features.  Avoid  protruding  the  lips,  adjusting  them  so 
as  to  slightly  expose  particularly  the  upper  teeth.  Ordinarily,  huskiness  and  hoarseness  result  from  an  overissue 
of  breath ;  hence  the  less  amount  of  breath  given  to  the  voice,  the  more  pure  will  be  the  tone. 


6 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


The  student  should  inflate  the  lungs  and  check  the  breath  before  commencing  the  tone.  The  tone  must  be 
approached  with  the  rilightest  possible  current  of  breath, — with  certainty  and  firmness, — still  avoiding  abruptness. 
A  secmingiy. rdtiiral  aiid- fitting  position  of  the  mouth  must  be  secured  before  the  tone  commences;  no  change 
should  take  place  in  the  shape  of  the  mouth  during  the  prolongation  of  tone,  that  is,  supposing  the  tone  to  be  on  one 
and  the  same  vowel  element.  Neither  should  the  general  position  of  the  mouth  change  when  the  tone  is  increased 
or  diminished ;  for  just  in  proportion  as  the  mouth  changes,  so  will  also  change  the  vowel  element.  Hence  it  is 
recommended  that  the  pupil  form  the  tone  on  the  following  vowels,  viz:  A,  long,  as  in  fate ;  E,  long;  0,  long ;  and 
A  as  in  far;  all  of  which  are  single  elements,  demanding  the  same  position  of  the  mouth  in  their  approach, 
prolongation,  and  termination. 

The  tongue  should  lie  unnerved  in  its  proper  place,  neither  drawn  back  nor  elevated.  The  tone  should  be 
formed  without  causing  any  apparent  effort,  for  it  is  probably  true  that  when  the  voice  is  exercised  in  accordance 
with  the  design  of  nature,  it  is  pure, — costing  the  singer  but  little  effort,  and  thereby  rendering  the  tones  fur 
more  grateful  to  the  listener. 

The  words  Chest  Voice,  Head  Voice,  and  Mixed  Voice, — which,  by  the  way,  are  terms  to  most  minds  as 
vague  and  equivocal,  as  they  are  wanting  in  real  significance  in  themselves, — we  feel  obliged  to  receive  them 
as  technical  terms,  since  custom  has  so  long  recognized  their  use.  These  words  refer  not  so  much  to  the  formation, 
as  to  the  characteristic  quality  of  tones. 

The  Chest  Voice,  is  that  kind  of  tone  which  is  clear  and  shrill,  yet  at  the  same  time,  wanting  in  resonance. 
The  Head  Voice,  is  characterized  by  resonance,  but  wanting  in  clearness.  The  Mixed  Voice,  combines  the  clearness 
of  the  Chest  Voice,  with  the  resonance  of  the  head  tone,  and  this,  is  the  quality  of  voice  which,  in  this  work 
is  recommended. 

In  the  proper  exercise  of  the  voice,  the  breath  contained  in  the  lungs  is  compressed  through  the  contraction  of 
the  muscles  of  the  waist,  and  forced  upward  into  the  Che^t,  thereby  giving  a  strong  impulse  to  the  current  of  air 
passing  through  the  trachea.  This  may  be  illustrated  in  part  by  a  pipe  Organ,  the  waist  serving  as  a  bellows,  the 
chest  as  a  receiver,  or  wind  chest,  the  trachea  as  a  pipe,  and  the  head  as  a  reflector  or  sounding  board. 

Notwithstanding  the  many  suggestions  that  may  properly  be  made  to  the  learner  in  his  early  stages  of  practice, 
it  is  important,  and  indeed  necessary,  to  attain  excellence  in  the  use  of  the  voice,  and  form  a  chaste  and  finished 
style  in  singing,  that  the  pupil  should  be  under  the  direct  instruction  of  a  competent  master,  who  is  himself  a 
practical  singer,  and  whose  examples  are  fit  models  for  imitation. 

EXERCISE  No.    1. 


fe 


— \^ 


m^-- 


Ah'.. 


-J^- 


Ah!. 


Ah!. 


i=i=^J^i=UYA^i=i=ki=h^^d 


:«=£EE 


li\ 1 1 1— i~| 1 1 H 


-1= 


urn 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


i 


i 


44444444M44fH4#H=hf=H^ 


P#=^^f=F=F^^ 


S3: 


I       I 


r 


-^ 


f=i^ 


|f=3: 


r    I 


f=f^ 


i-\ fl       |S=[i— P— pfm— I       I       I  IT     1       I— Jj-ZjI-lz^lTl       k— I— |r: 


9tF=F 


p 


^ 


* 


iP 


f     I     I     I— l-H     I     I     1 1 3J=:J=:1:=^=t=l-4f-J- !     !     ||J    J    1ir4:T=4=}=|i4:FJ=j=4=4 


Exercise  No.  1,  may  be  sung  to  all  of  the  vowels ;  but  chiefly  are  recommended,  Ah,  0,  and  E,  according  as 
may  be  the  wants  of  the  pupil.  If  the  pupil  be  inclined  to  produce  a  pectoral  or  a  guttural  tone,  the  vowel  E  is 
recommended ;  and  if  the  voice  be  wanting  in  freedom  and  roundness,  the  vowels  ah  or  0,  should  be  used. 


8 


FORMATION  AND  CULTIVATION  OP  THE  VOICE. 


EXERCISE    No.    2. 


i 


ZII?^ 


3  ^       cs  IS 


_^.. 


I     1     I     I     I     I     I     I 


$: 


^ 


^^g 


i-  -i  i  i  J   J   J    J    J_J    J    J"  J__J_J__M-i---M^.^-^--^— -^: 


^1 


fe?«^^F 


^- 


^r  r  r  r  r  r  r  r  i    i    i    r  r^r^  r 


~# ^ P •-- r-» m m m 


:dz 


:a=- 


:^.: 


0 


These  Exercises  may  be  transposed,  or  the  compass  of  them  extended,  to  suit  the  wants  of  the  pupil. 


EXERCISE    No.   3. 


^= 


^ 


■=d- 


J 

\h!.. 

1 

1 

— «- 

1 

1 

-^- 

1 

1 

Ah!.. 

=i= 

i 

r^ 

j 
-t- 

=J^ 

Ah!.. 

'f'- 

4= 

I 

=1= 

-M 

1 — 

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i» 

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::f: 

=e- 

i: 

:zp- 

=P= 

— •— 

1"  ■ 

t 

^ 

=f= 

-P- 

p 



— px 

FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


« 


(: 


^ 


V- 


rr~r' 


"f 


rTfTTrrT=rrr-r=f=rrTf=f 


9?E 


U-i-Ki=4==U^^i=U^i--4-^-i^i^^H-4'jf 


■iv'=p=f=g 


I 


i 


bj^=ppl^=^-aEp™EEp 


^^s: 


^E^ 


:E^-:t- 


3ESE3 


-— J— u 


:p=^=»=p: 


It: 


lEI 


^p^=^ 


f  f  7  f 


i 


1 


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i^es 


H 1- 


^0m4i^pipm 


i 


^^ 


^i- 


f  T  -r  f-  ^    1    1    ! 


es-i- 


a  • 


il 


ii 


S^==?^^^^^^^^^^ 


:i^=ut 


^=5= 


i^^ 


i!L_fL>  -"i  .J 


i 


^ 


-r  If-,  f-  f- 


T-rrrfrrn'TTT 


i 


n 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 
EXERCISE    No.  4. 


Do! 


Ke!. 


Mi!. 


Fa!. 


I M   M     fj_t    f    J    M    i  J_JJ  J   J  jJ^^^^ 


fTTT 

Sol!. 


;:tr4=t-t 


i 


-es_ 


© 


Mi!. 


Fa! 


Sol!. 


La!. 


i 


:«=t 


^^^ 


=r 


S- 


■f-rr 


Hft-H»-# -^t 


-) ) 1 1- 


11=^- 


I       I       I       I 


f^ 


JE£ 


Do!. 

f     f     t     >      r     ( 


\^,MH4ii±i^^HT^^^: 


f=F=f=F 


t=t 


>_#: 


M-m=Mij^ 


> — I — I — h- 


^ 


A     -€ 


=S>-^ 


ri^iz; 


-T^- 


Sil. 


La! 


Sol!. 


Fa!. 


I      I 


4— J-4-J-f-4--i-fJ. 


-W—m—w-w-i~\ — -J — I — h- 


--*—•—#- 


I    I     t    I 


.,_.._^_.^. 


j^t 


:1:rt 


ffffr-r-M^ 


i 


:!3r 


^ 


eE^ 


-^-T- 


-f-r-f-r 


— ^- 


i^ 


Iz^zj: 


Mi!. 


Eel. 


Do!. 


^^fe 


i^ 


Sol!. 


Fa!. 


Mi!. 


-^ 


e 


Rel 


Do!. 


ifr^'miHmfmm^sm& 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


11 


.d..^ 


i^Ssdii^^f^ 


A 


:tii:t=l=t:: 


Re!. 


Do!. 


Fa! 


Sol!. 


Do!. 


m 


#-!«-P_.^. 


tr-t=a: 


IjLLI. 


^ 


-lO-i- 


P^f^ 


f=r-f3S? 


Si!. 


La!. 


Sol!. 


Fa!. 


•—#-#- 


3= 


Sol! Fa! Do! 


Z5S1 


m 


';z»i:pnir. 


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I 


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ff^ 


:p=7c 


H 1 h 


ti 


j! 


-?■- 


:=1: 


-«=*- 


Sol!. 


Fal. 


Mi!. 


"^. 


f=f=f=r 


rrrr-^TT 


12 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 
EXERCISE    No.    6. 


P 


I^arco.' 


i^s: 


:s^ 


Do!. 


Re!. 


Mi!. 


Fal 


^S333 


t=\=t 


Jill 


^f=r'f=f^rT-?=i'=^- 


I     I 


TTTf'  T~rrr  '~r^^ 

Sol! La! Si! 

-C-   -0-  H*     ^     H«     ^ 

:p=p=p=p:r:ti=t=:^t=ff=:r=r^:r 


Do!. 


ft—f—PL—fL 


p — • — • — »- 


:t:=t=t: 


i 


3;3=E3i 


T-rrr 


'rm 


F"^"" 


Si!. 


La! 


Sol! 


3^3|i^E||i 


-7-7-^-1*- 


I      I 


:^.  ^  -^  -#-  r  r  If'  -^  -w  -w  "w^  '    '    ' 

1   r  I   I 


^a!.'...l..^..l..'      '      ' 
-*-  -I*.  .«.  ,*- 


H 


..^_. 


^^^r-r-rt-r-f-r 


Mi!. 


Re! 


I 


rj 


;.^::: 


Si! 


i! 


:p=»=!f=p: 


-•■  -•-  -»- 


±=t 


i 


S^ 


^ 


La!. 


Sol!. 


:4: 


II 


-C3- 


Fa!. 


Do!, 


^mmtft^mmffmmmmm 


FORMATION  AND  CULTIVATION  OF  THE  VOICE 
EXERCISE   NO.    7. 


13 


-rrrf 


f-r-fT 


T=fT^'- 


Sol! I^a! 


bl ! 


f-f-r-f^ 


F=p=p=p 


H i 1— 


0—^—0 0- 


0—0—0—0- 


l=t:=t: 


ipzip: 


t=t= 


IIE 


E 


ii 


m 


Do! Re! 


A 


:P-^f?: 


fcf=?=:ft 


A 


:f 


_, 1 1 L 


Mi!. 


m 


.f  f  T  f- 


■0—0 — •- 


-P 


^— i*-p— ^ 


t=t=t- 


ipziprzprzip: 


JgEEteEgEEg 


Do! 


A      -> 


=F-FF=F^*^ 


:zs^ 


.^ar 


rrrrTTT-r  rr-r'r 


Sol 


9fe 


:p=T=P=P= 


t-.z±=t; 


-(•-#— p- 


£ 


i 


# — 0- 


0—0—0- 


£ 


qczjczzpziip: 


:t==pz:: 


& 


Fa! 


^ 


'^'^-0—0—0—0^ 


Si! Re! I>oI 

j. ./  V  w  -J-  -J-  -/  J  J  J  J ,  j._j_J_iU-J-U.g-^.U^^-^-J 


0    0    0    0 


Ti~y-p~F: 


-J-H 1 1 h 


-^-f-J^=W. 


t=t=:t=l: 


f=f=r^^t3iEt£i^:=pE^ 


i 


33: 


i¥ 


Si!. 


La!. 


Sol!. 


-5=^ 


Do!. 


a^u^J-vaj=^^JEJE^aEa34j=^^=i=j^ 


r7Tr^""^"^rrr  r^  ^  ^  rV  r-rTTTf 


feii 


u 


FORMATION  AND  CULTIVATION  01"  THE  VOICE. 
EXERCISE    No.   8. 


Pi 


e^ 


:^- 


Do!. 


Ee!. 


..^. 


MiT. 


^ \ 1 f 


^leiE^^^ 


-\ 1 1 H 


3^«^^^EE^^i^di3^^=M^=J^ 


f—f—r—r 


f=f=f= 


f=f=r^ 


P 


:?s: 


1^ t- 


Fa!. 


Sol! .^T7:\    .   .  La! 


r  r  r  f 


./    si!r:.:v.vv..., 


SEE 


H«— ^L-#-=P 


I 


f^fH^^^-rn'n^V  f  r  r-H^-r^'-f^-rrf 


Do!. 


i§a=f=f=r 


-S 


:pz:p=pz:p: 


:t: 


Re!. 
Ht  _^.  _je.  _^- 

-k-U-U-U 


Do!. 


•— • 


^E| 


Mi! La! Sol! Fa! 


-^— ^ 


-# — 0 — •- 


i; 


:W=¥=W=W~ 


-9—p—p — P- 


?S 


_^_^_^_^_ 


1:^ 


-»— •-  » — •- 


X-t-t-^ 


i 


Mi!. 


Re!. 


Do. 


I     I     I     I 


i 


i 


3F 


Si!. 


La! 


Do!. 


._i — — I —  — I — — I 


f~f~r~T 


— (- 


^^: 


^^B 


i 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 
EXERCISE   No.   9. 


15 


^ 


Iatco. 


9i=5 


-S3I- 


-r  -r^r  -r 


r~r~r~r 


^^^1  i  ~t~ 


r-r-rr 


sfii^HHi^fiH^ 


p 


-^ — *- 


f=f= 


=P=F= 


^S^— A. 


f=F=F=f 


1* — r 


-f-- 


-1 H 


I         I 


Fa! Sol! La! 


Si!. 


Do! 


Do!. 


I 


t=)=t 


'^n-f-^ti-fTn-rrf-rn-'m 


W^ 


fa 


?E 


^ 


P — W — p: 


-I h- 


:l?=l^ 


i 


Si!. 


La!. 


Sol!. 


i 


M-jU,U-jU 


^ 


!=(: 


3^ 


i; 


?=*=^= 


I         I 


'f=f=f-i-^-f-rr^r-r-rr 


P=:p=::=p: 


f 


r,x:r: 


Do! 


sttBdrf-^i'^ffl^^^-H^fffrfrr^ 


i 


s 


1 


-r  f  -  r  -r 

Do! 


LLLL 


Do'. 


^^N^f^Wn^ffN^N^^^+fexfe^ 


16 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 
EXERCISE   No.    10. 

These  Exercises  may  be  transposed  into  the  Key  of  G,  when  used  for  a  Barytone,  or  Bass,  or  an  Alto  voice. 


Wm^^^^m 


:it 


^— *— # 


-'-y~^^ 


,-j-* 


Do,  Ke,  Do,  lie, 
-J-        -J-  -J- 


r\-   m • 5 5 — 


J J_  J J     J 


5=f=i=? 


S=?=ii:^- 


-#-^-»-r 


f — f-  r — r-^-r — t-t 


J S -j-  -^         -J^ __^«H 

-# « U 1 U 1 J. 


-«l-     -jr       -j-     -j-    ,-j-      -j-     .-^     -^ 

1 i J—  -\ L- 1  '  I  I 


^     -j-       -f       -#-       -j-- 


i=5=i=^":-*-^- 


^r  u:g=F+F-r-FHrEgz:h: 

J  J  J  J      -J-      -i 


EEtPEf^^" 


^ 


:p 


S 


J-      --U      -i-      . 


tzi    ^-    -^ 


^ 1 L ^ — i— -J-i H- 


.J^ 


«_ 


« 


'S—=f^—0 — f 


^^=P=#: 


-■ • B •- 


J 


J. 


-IE— i-T ji       iS- 


-^    f    p= 


i. 


S 


5 


?: 


i 


-i-i^-i-i- 


j-^-i 


J 


r-    r-    r-    r-    r- 


-f- 


IPT-'  r  'ff^ 


=?=^ 


:fi= 


i 
i 


FORMATION  AND  CULTIVATION  OF  THE  VOICK 


17 


EXERCISE    No.   11. 

The  pupil  will  take  breath  only  at  the  end  of  each  phrase. 


Lecato  •  ■ostennto. 


fe^te^^^^^^P^^^^^^n^^^ 


-Jr        -I        -I 

4 — *~Ltl 


5rjh?::|=5: 


i^ 


I 


-.i=A 


#—- ? — 0=^ 


1 

1 


■i      y~'i=^ 


dw 


1 i     I     'i 


^^ 


r-rr — r — r 


T 


J-j-,j-_-j__,j 


^     y     #=f-  ot»^ 


r — r 


r 


d^-t-4 — --i^    '^ 


^S=¥ 


prir^ 


1 H 


:|3EE^E3 


t 


-f — s==?- 


31l£: 


^^^m^^^^^MM^^^m^^mm^'^M 


-I  -I  -J 


-( H 


iii^3;^E33^ 


i 


1^: 


j^ ,#4-1-7^^ f-T^ 1- 


i 


i 


gg^i^ 


^^=^t 


J,  J-  -J-  -i- 


f^Fr- 


^ 1- 


fe^l^S 


rit 


-) (- 


I 


'    '     '    ''[3]      '         '^ ir-tr    1    II        4=ni  f- 


^ 


18 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


-• — 0- 


Siizz^ 


^ 


J 


r-'-r 


T 


fei=tri=.i=:^ 


0~SZ9 


^Fr 


pnzp: 


1 H- 


|^^---jE£ 


f^ 


J=2j 


smsg 


^^-- 


--^  V  4        -i 


Sl^fe 


-i h 


t:±=P=^ 


i^ 


-/ 

-?i!- 


i 


-^-s-f- 


f—r 


i=¥= 


^?=*= 


dt: 


r 


l§^feg 


r— r 


-^ — ^— 'f- 


>_ 

-.•_ 


-^ — •- 


.^'-M^r^=i 


'^:f-i 


1 h 


:fiz5rp3  :;|=?izzptiz?: 


:p:f  P= 


'^^§^ 


Hi'iiiiifi^:^^ 


-I h 


-i- 


--^ 


l=f^ 


-f— 


-^- 


I 


i 


liM 


i 


^= 


j,i^i^_^i 


a^^^ 


-j- 

-»— 
■-I — ^ 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


19 


Too  much  care  cannot  be  bestowed  oa  the  increase  and  decrease  of  tone  in  the  practise  of  these  Exercises. 


EXERCISE    NO.    12. 


Ijesato  e  wo*tcniita» 


M^^^^^ 


R= 


^-^  J  jtrJ''t-ri-:^^i^^^::^Ei'iip^^ 


gfe|=g=f 


m^t 


:l^ 


-?=- 


.'.■•i"**.  ■»«.*«■■ 


s 


i5i^^33i^i-T.i^=S£^3=3Ei5i3E±|:i:fci 


1  J    I- 


tttt 


.J_ 


3: 


=5= 


i-.- 


1^=.. — ^fz:. 


1 


H 1- 


i=J=± 


i 1 -J 1 1- 


tiziiittr^t*: 


^zifc: 


3^ 


4 


f 


^^     • 


c  — „»,s^  — .zP5^ — .f*^— iF?!^-i-   P:  ^   i    I   i—  I   i    !    I    III  'j—  I    i   .^  "I  H     ^"i       i   i 


:st=: 


^-1 

>• 

( 

>• 

-rt 

»» 

t -V- 

==f^^ 

^  —I 

1 

V 

— t— 

V 



\ 

V 

4—r^     ^n^T^q^g^=J?1l-J^^S-Jl4Tn     |..!J-J-jJ-4^IL'-i:p=|ipi=i: 


-•I- 


-Jr 


Sgi 


F^^ 


^: 


_<=l-- 


=>  ♦      ^    - 


20 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


Brf 


■^- 


:EE^: 


i 


# — ^-» 


^E£S^£gE£S 


^c=i=F 


•— ^- 


:#=P=P^ 


-^^Mb 


2 


=#=p=#= 


§iEi: 


_^_A_ 


:p=z_z: 


^^g^ 


#=F=(t:p=» 


;tz: 


^-1 1 1 1 P ^-1 ! 1 j 1 *-l i 1 1 1 f-F-l 1 ! H ^—  t ^- 


E 


-j- 


gt|: 


3: 


^ 


-i- 


-<=a- 


IE 


-^- 


li 


J 


:i_^ 


jE^ii^^i^^^^ 


r4 


iil 


i 


* 


4 — f-"- 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


n 


f^?E£&£&=|^E^=Efr,f=|!tte^ 


-H-h^ 


:E 


m 


-j- 


r 


-j- 


-d-. 


f 


F-# 


iS 


P=f=F=#=i=^^ 


i — F-#^-»-^ 


-! h- 


IzM-*! 


J I I ; : I I I I I L.-.  ^  — 


a 


i^i^^ 


W 


^= 


i^ 


-4:  ■ 


i^eeS 


'         '     '     'I'M !— 


i-~ 


-t 1 — H 


:K?5EEfE:ES=B 


£t?^i^ 


^ 


^^^^J-Ej 


t^zfL^:^E^-f-Fr=^ 


^ 


* 


i 


gS 


f-'?- 


:(OZTi=:rz 


-p- 


P-l-5a^ =»i-l — Pt^l — -*-v-i — I    i   M   I    I — I    I    M   I    I — I    :    1    i   .    i — i    i    i   i   i   i  ■ — -"^ r 


^ 


P 
^ 


^ 


22 


FORMATION  AND  CULTIVATION  OF  THE  VOICE, 


1^ 

1 

Irk- 

J 

-d' — 

>• 

pi^ 

-•-1 

t^ 

:i--i=* 

H 1 

Tt- 

r — 1 — 1 r 

t 

r^ 

0 

1 

V 

-T 

V 

'~r 

V 



r 



Lp_  . ± 

^=^5l^Ei=gE^Ei=^=^3E^Ei^gEitiE-EiE^ 


i§^ 


^ 


i^ 


--dz. 


f^ 


=f= 


=f= 


ips: 


i^^ 


i^33ES3^E^3^^^^g^^3^ggS: 


s 


g 


-¥^- 


gt^ 


-J- 


3^ 


:S^: 


-P-" 


&^      f0f^ — ^l>    ^^^i^-  ~i   i   I   i   i   I     I   I   ,   i  !^—  I   :   ,   iTl-    I   i   I  S^S~  ==1"— j— r 


i^ 


J 


i* 


i 


-p- 


^ 


13 


E3 


Ss=^-33E353=^=i3iS^='"=i3=3^=^"i3=333 


I 


t 


± 


JiuJP., 


^1 


J?ORMATION  AND  CULTIVATION  OF  THE  VOICE. 
EXERCISE   No.  13. 


n 


EXERCISE   No.    14. 


EXERCISE    No.   15. 

The  fourth  measure  of  each  phrase  in  this  exercise,  may  be  omitted  in  the  early  stages  of  practice,  in  case 
the  pupil  find  it  too  difficult. 


P 


=j=:4±::4 


P 


y  Crcs. 


«l**-^ 


tatXlr'jt      XTitK'-i 


^^       Crea.  «l  Cre«. 


MJbi^M^Mi^ 


C«-e«. 


^JE  ^Sfc^r  i^Z^ti-J^S-:*  i^vSi^- *-2^ J2iivt^iJ53Ej«  ^;  *:r*z  ;Mifti^  iSie-*v?3C f ; 


P 


Cres. 


Cres< 


Cre*. 


^■^^^ 


Crea. 


^TS^=#-J^-Jf3-^V»j^-^~#-j.3;  3^ 


f  ■*#■ 


'■  '   I       I'll  -^   I    ,    ,       :—^       ff  i   1    I   I   iH^ 


Cres. 


^ 


24 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


EXERCISE  No.    16. 


-^^. 


'"•P" 


H 


i^'-^m 


ti^ 


1==T=1= 


^iii 


S^:: 


-ff^-aii 


r-^-f 


i^ 


j- 


f 


«— 


w-^- 


ip: 


hJ^ 


"P 


:e: 


^^fe^^i^^lS^ii^^^ 


s^^te 


ig 


5:=^:: 


^ 


»±3::: 


iz3: 


S^^i^: 


J- 


^S^E^ 


ij: 


?^ 


EXERCISE    No.    17. 

A9  S^ 


SV9 


A» 


«*.i?g     :&i;  ..--  -— i 


FORMATION  AKD  CULTIVATION  0:P  THE  VOICE. 
EXERCISE    No.    18. 


25 


No.  1. 


a=3=^ 


1^ 


m 


^ 


No.  2. 


•ft«-*- 


IzMzt: 


-r-t-^-ti-.- 


g=|^ 


No.  3. 


^^ 


tttzit^i 


^2_4TI3. 


i 


— -—  — °^^— —  1 f?       1  ^ "K — I 


No.  4. 


I^^§lilig^gl^^5^3^fe 


^>t  ^^    .^^  "o^       .^  ^%>K    ^^  ^^«A  i^4^    f^dv^    KTu'-'iT^   5rv*^>NA  *<v-#-i*>^   ^^^"•^^ 


No.  8. 


[ijid — 1  z iJ-  '         -J — i# 0 M — :^^jt — ^°  Ip    1 1  ^°  ff    I  ^^~r     I 


No.  9. 


^73^i^l^ 


i-# — -—-*-# — I — • — \ — * — I '- — I 


-0-^ 


-*•', 


0-^- 


-4 > 1 1- 

m — d — » — 9- 


4=t 


piS=J=S^: 


-t=^i=t=i 


ACCOMPANIMENT. 


3e^ 


• 9 m *- 

^^ 

-0 •        4 0- 


-m #~ 


V^l^ 


S^fe 


9        4  *=ti 


-4 — d • — iP 


P^^ 


26 


rORMATION  AND  CULTIVATION  OF  THE  VOICE, 
EXERCISE    No.   19. 


i 


>> 


-^^3^3 


53=^ 


"SH^ 


1 


■s^ 


=t: 


HS^S^S^ 


■^#: 


t 


r 


gizgzi 


:^ 


fe 


iiiPi 


^~  -#-  -jTi"    .,2>' 


:p==r 


-<-3 9'-- 


±tl 


:?szz: 


s:s-fe" 


U±. 


:iB=: 


^1— fc-_p_=:-^-^- 


3::t=: 


s 


^-^-SigEE#:^pEpg^^r^^^p^!^E^ 


-#-r- 


I  u    I        1 


^f^ — ^ 


?^^: 


t 


-?r-^- 


-^' 


m 


-^^ 


^^i 


M=t:-^.: 


|^EE^=4=g-:^ 


<=     t^»- 


l?=?^- 


jTi 


i=w^ 


rfe: 


'ii 


ist^;: 


J=S^--^ 


-U 


S-g— — ga 


feiiife^fesiEii^Ejpfgia^i^^ 


h 


1^-^^ 


§f: 


E 


ips: 


:cl^:  :: 


S^fes;;: 


±: 


i 


1*=^ 


=S' 


"I 


zizm 


^ 


i 


zjfes: 


^ 


Si 


;=te; 


^^^p^i^_^i 


3^ 


"ST!: 


H r«- 


1-^;; 


^fe 


=#= 


fcs; 


1^ 


izS- 


=ffS?- 


Jz^S~^ 


feft:  -^-  -^ 


-P^'- 


-^— 1€- 


:ii: 


FORMATION  AND  CULTIVATION  OF  TIIE  VOICR 
EXERCISE   No.  20. 


27 


Sl=^^=Pf 


:^- 


^^^- 


^Jf-' 


Do,  Mi,    i)o,Di,Ue,lli,  3Ii, 


-^=; 


^^^^ 


ffi=3=f=*=^iiiiEi?J5 


:^-^: 


:S=.: 


i=^iEE!^ife 


res: 


-P=ii^ 


1 — fti—- 


_-_*. 


-PS- 


t 


,=f?i^-'-- " 


-»-.       A 


::±: 


g=EEE^^i:i= 


r^r-  ,-rz._^,_r^^:^^-z|!M 


-_-fZ?=#l>*_^_-_, 


-fSS- 


-f—^-0-~r 


:?=2: 


S 


•-=- 


^t 


:f5E 


:«=ipxi??i?;: 


4= 


?f=pii:: 


t==?: 


i 


s? 


—  c=) ^ shm- 


:J=f?i:i!at 


:^itbi:^ 


:t 


E*EE^ 


*2zz5:z: 


3^3! 


i 


=!: 


-'^. 


3: 


^^^ip 


"CS^ 


EXERCISE   No.   21. 


— ITA- 


^*- 


it=^ 


^f- 


^^■■ 


-t-T^ 


fe^^^i^^^^^^ 


4t*= 


7=^ 


■Sit 


0~ — K 


=*=^ 


W^!^ 


t± 


28: 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


-^^-=^- 


^=^^^^^^^^:^,-J^^^^^-^^ 


"!^=R'-5a-S.^=^==tJ=^=: 


-f-^-^-ii ;-»-»: 


iiz:z?z^ir!iL' 


'r-^^ 


.    A 


E;Et=fc; 


f^^i^ii 


^-T-^'-ifef^^: 


i<u-»-  i?^--  A 


t--=-rr 


«_... 


:^=b: 


^J^-^-r-4^„g^-^^  fa^-.4^f^.^  ^^^^  ^  ^^'if^fe^-. 


i 


^ 


;;eEee2E- 


:5z:: 


^-^^-•-»f 


A 


^: 


P2P= 


^^ 


^         K^ — I — I — h-H "-- 


zlip: 


?=^=5r 


i 


P 


-»-^* 


■^-•^ 


-I — 


^■ 


zizri 


i^s: 


3EszpgJEJ5^EJ=z=^^p4E^|g^zS55--f^^=^ 


_^_i. 


^tiw 


^=^ 


-#-^ 


s 


^f^M 


i^: 


3==^=S^=i5i=y 


_A_ 


:===t 


^^^'^--'^^--S^-'-'^^-^-^'S^^. 


5[E 


EXERCISE    No,  24. 


^;^-~Jp-  ^-jt*^ 


'^- 


— <^ 


^^^Mm% 


'f— 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


29 


:p3zg:^E±^F^iEPEf^ 


.-0^0--^, 


■:^^^MM 


i: 


A      -C5-.  -• 


=& 


^fl^J?^ 


f=P2p: 


t 


gEi^^^^ 


^i^z^^-4-3=M^^=FJ=^^^^-^^#-^ 


'^ 


EjE^^S^gz^t^Za^El^ 


f^^ 


i 


EXERCISE    No.    23. 


%|^^E^^I^^J^^^ 


^-^ 


^^^^^- 


P^^P^S 


"p=f= 


=  -^  •  I  ~i--j-MH-J=jf^=#=P=^: 


f^^^^i^^^jg 


33 


i^i^^B^ 


i 


10-^ 


— 1-- 


S^IE^tEfE^ 


:?= 


^^S 


itfc 


30 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


i 


5ZTE^^^z:Pii^=^^^^ 


SS 


-'?- 


:?5= 


~^E=w=fzk=f.-k^BMl 


A 


i 


w 


¥ 


MjlM. 


^^.lIESE4pfe=Et^Ef^t^ 


i 


-»-3# 


s 


'kJ^0-r=SM. 


_P2_ 


^^^^li^s^s^"^^ 


^i= 


H^g^~   I        i        i        i      1        i^iii-^=P ^4^ 


EXERCISE    No.  24. 


--  p?  »  >f- 


-  — • 1"'^'^^—  I     I     ,     i  ^ — i'J^J lO    •    ^ 


^=gl^Eipi^ 


^^^E^a^ 


.    A 


^^^: 


P 


li^gS 


E^il^^ 


m^^!^^^^^m^^0^^4=i!^mi^M 


:^:: 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


31 


-»— I  I  I  T-f -t-^-F-^-^^f^f- 


i^^rfe"^^-^ 


i^rz::; 


^^^ES^3 


^^=^--%t^ 


m 


p 


EXERCnSE  No.    25. 


S^-^Sr^^^^-S^ 


E?^£-J--i5i=i^S^S^5^ 


^^L#!z1^^SE^^^=^^-^E^4i^ 


■ff-     |j^:gg_^_._,, 


A    -^- 


-;-r-- 


P*^*^:g3;j 


m^-^-^u^ 


^^ 


32 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 
EXERCISE   No.  26. 


^Ejr3^^ 


3i^&^ 


& 


W^ 


dV: 


:2=i 


-*f    ~^    7    V 


■^H- 


L:iI^ 


j^=tr:d-_iz2=r: 


f-PZ-^T--^ 


J=J==A 


V 


:3=tp: 


i-Ti 


T^.=^= 


I 


i=^ 


^.j^=^ 


p=t|i=2= 


^=p:f: 


^Ji-         =gz  _J^  -^z        i-gz         _^        zf:  iii    -5=        -^ 


.J^- 


N 


^ 


-7--^ 


fe 


,-.?■ 


^•r 


-^-f— ^ 


^=J^= 


f=5zzf=2z=i 


Sl=ni 


^ 


h 


V—^-- 

/__j^ 


-7-f 


i?; 


^-rf 


gJ^^P^jg 


±S^-^=— ig: 


ti= — =j_     _s-  =i=   _;=    t%z 


l^^^^J^J^J^,!:^,,^.^^^ 


V- 


^^  ij  'I         '   -hr h ^h b — -IP-I-/ 


fc:t=5: 


Si 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 
EXERCISE    No.    27. 


3S 


gE=^-^-i!jT^f]^ 


:J^ 


±ji 


0  0,0g»^S-i- 


:fev 


5^E2E: 


-*y-j^-?- 


ifi: 


t 


:-9r±l 


^==:^. 


qi=2. 


S=j 


J?at 


tM:ijti^iL, 


m 


?^^: 


«r^ 


K*jilM^jM 


gup^ 


i 


£5 


si 


i: 


^   ^ 


^^r 


te; 


a: 


f  ^  r  1. 


V 


-^-*- 


i 


i 


^1^1= 


^=31-t 


V-J=— -If; 


S 


dQi=fe 


5=5: 


1^^^ 


Eee;3^es: 


/= 


:a?s^=f 


4 


p=5:ji-^Mr-^ 


;/    ? 


-V' 


i 


^ 


V  ? 


-A 


'^ 


±: 


Eg^P^^ip^agjgrfS^^^igt 


I 


I^s;=jv 


r 


i^-?- 


1^=^= 


^^1^. 


,^^^^,^^,,^^il^^ 


1/      [SJ 


■rf 


1^ 


^ 


"p 


iS 


34 


FORMATION  AWD  CULTIVATION  OF  THE  VOICE, 
EXERCISE   NO.    28. 


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FORMATION  AND  CULTIVATION  OE  THE  VOICK 
EXERCISE    No.    29. 


35 


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EXERCISE    No.    30. 


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EXERCISE    No.   31. 


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EXERCISE    No.   32. 


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EXERCISE    No.    34, 


36 


No.  1. 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 
EXERCISE   No.    35. 


No.  4 


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EXERCISE    No,    36. 


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38 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 
EXERCISE   No.  37. 


The  practise  of  this  exercise  will  secure  to  the  pupil  the  ability  to  change  into  remote  keys  quickly,  and  sing 
the  scale  with  equal  certainty. 


No.  1. 


No.  2. 


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No.  5. 


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No.  6, 


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No.  7- 


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No.  8. 


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FORMATION  AOT)  CULTIVATION  OF  THE  VOICE 


39 


No.   10. 


No.  9.  <^^  r^:  ^  No.   1 


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No.  11 


No.  12. 


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No.  13. 


No.  U. 


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No.  15. 


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1 

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40 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


THE  poiita.:men^to. 

The  Portamento  consists  in  a  concrete  movement, —  in  a  carrying  of  the  voice  uninterruptedly  from  the 
pitch  of  one  note  to  that  of  another  either  above,  or  below,  for  the  acquirement  of  which  Exercises  Nos.  3,  4,  5, 
6,  7,  8,  9,  are  designed. 

EXECUTION. 

Execution  consists  in  a  discrete  movement  of  the  voice  —  in  a  slightly  interrupted,  and  articulate  manner, 

effected  through  the  agitation  of  the   larynx,   with  reference  to  which  most  of  the   preceding    exercises   were 

constructed.     But  Exercise  38  is  designed  especially  to  secure  to  the  pupil  the  ability  to  execute  with  facility, 

and  with  neatness. 

EXERCISE    No.   38. 

This  Exercise  is  intended  for  a  formula  which  the  pupil  will  practice  four  times  a  day,  fifteen  minutes  at  a 

time,  —  repeating  each  measure  three  or  four  times  at  one  breath,  and  extending  each  number  as  far  as  the 

compass  of  the  voice  will  admit. 


No.  1. 


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H— 1--<- 1— + 


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No.  2. 


No.  3. 


Pl^pli^^t^i^i^^iiSlSigg 


No.  4. 


i:4*=:iJ4it=]:j-4-iiiil:izli 


?n-Pn=5.. 


No.  5. 


^\    p"j3"3    ^^33    ^^^^2    ^223_  ^^    ^^JU    ^23Z>_  hZS  _CSE3_ 


No.  6. 


Ppa^p^ 


■"■^■^^     ^^^^*^     ^^^*i^3  ^^     ^^^^^1      ^^^^^^     ^^^^^^     ^^^^^^ 


THE    TRILL. 

The  Trill  consists  in  the  execution  of  a  rapidly  repeated  second,  either  major  or  minor.     The  trill,  is 

undoubtedly  the  most  difficult   accomplishment  in  the  art,  and  is   attainable   only  through   continued,  and 

persevering  practice. 

THE    TRILL. 

This  is  intended  to  be  sung  in  all  the  different  keys. 

WRITTEN.  t/r„^^^ 


^^^m 


w^=^ 


te 


AS  8UNC. 


RUard. 


'^^m 


^—d-'i-i*    4  d-^-d-^-d-^»—^0-ji0-^-*- 


^*  dz^d 


i 


The  trill  should  be  practiced  slowly  at  first,  giving  the  two  notes  with  equal  force.    A  greater,  or  a  less 
number  of  notes  may  be  sung  j  but  the  above  is  a  plan  of  the  general  construction  of  a  trilL 


FOBMATION  AND  CULTIVATION  OF  THE  VOICE. 


EXERCISE    No.    39. 


41 


Andante.  Sempre  leornlo  c  nofltcnuto* 
VOIC!E. ' 


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rOKMATION  AND  CULTIVATION  OF  THE  VOICE. 


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Z^arsbetto.  Doice* 


VOICE. 


EXERCISE    No.  40. 


vtAitro  nonnooM. 


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FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


43 


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44 


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FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


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,35 


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FORMATION  AND  CULTIVATION  OF  THE  VOICE. 
EXERCISE   No.   41. 


4d 


Andante  enntablle. 
VOICE. 


J,  CONCONE. 


m 


pas 

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ACCOMP. 


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46 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


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33 


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FOBMATION  AND  CULTIVATION  OF  THE  VOICE, 
EXERCISE    No.  42. 


47 


BIsderata* 
VOICK. 


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ta 


srazliMO* 


^^Sii^iiiiii^ii^feffi^a^^i 


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48 


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FORMATION  AND  CULTIVATION  OF  THE  VOICE, 


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tempo.  espress. 


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FORIklATION  AND  CULTIVATION  OF  THE  VOICR 


49 


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EXERCISE    No.   43. 


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50 


FORMATION  AND  CULTIVATION  OF  THE  VOICR 


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FOIl]\LA.TION  AND  CULTIVATION  OF  THE  VOICE. 


If- 


^^gj 


>  >  >    >  >  >  > 


>  >  >  > 


t^ 


>>>>>>■> 


fan  e  SKeead'e* 


3^^^i0^^3^^^.f^l^U=y^ 


m. 


3 


3iJ 


^- 


=f-^ 


i\z±i~:^±=zzt 


fzt:tt  -^ 


n* 


S 


^ 


:|  «  :g^ 


m 


■fS: 


af: 


-^-•-#- 


^= 


=^ 


ii^zS^ 


-i^-# 


5= 


:± 


-!^- 


-i, 1 1 — I- 


^ 

=^=i 


£^iit|' 


tti^: 


}^iE*_=6P 


>  >  >    >  >  >  > 


]=nqB: 


^ 


S^^ 


*^ 


«»iixetlie>. 


^^^^iM^^i 


^ 


P 


"•C3" 


^te 


1«J;  t:  tii^  li:  Ji  J:  t^  t 


H — I ^ 


iSitl^: 


nti5ii{=i=it  53{i!=izSz:  Sffl-Mzi^ :  :^: 

-#-•#-#-  -#-  -0-^0^  -0- 


^"V^- 


nilgai: 


-r- 


-^n^ 


♦^    >  >  > 


>  >  >  > 


i>  >  > 


--fr-^. 


tt^  >  >  >    ^1  >  >  >     Q ?**^ 


p 

fc 


D.  C 


^^=s®< 


V 


1=dT_^ 


««^%3^ 


^£il 


^-,1=5-- 


^rTf:? 


S^ 


i 


-^ 


■J=ar: 


"^ 


US 


is 


i 


52 


FORMATION  AND  CULTIVATION  OF  THE  VOICR 
EXERCISE    No.    44. 


This  exercise  is  designed  to  familiarize  the  pupil  with  the  triplet,  to  the  even  execution  of  which  he  will   give 
careful  attention. 


=^3i^^ 


^T~V~ 


^ 


9 


^E^. 


t 


-0- 


mi 


X 


I 


— I- 


=3=^i:j 


-Sr 


?        t 


-P2- 


-CS T 


:ii5: 


-f ^ 


-#^ 


:E^ 


■It — a P-  I     i     i 


:tzt 


=^=:1=i 


3t*Zil 


3ip^Egp£gg^^|g^|g^±;£| 


rr^- 


— i- 


i^ 


m 


:E^: 


ips: 


»  » 

-•J-  r     J    r 

:it=z±zz5: 


iSl 


J- 


-J- 


:^:«-:«^ : 


-J-.—- r 


3E£;- 


:fc 


Ill: 


t        I         »      ^TV 


t         1       /Ts 


sa^ 


A   >, 


Rltnrd. 


-^— Pn 


-H 1 h 

d ^ «- 


I  I 


a 


I       f 


f   f 


I       I 


i 


i# 


FORMATION  AND  CULTIVATION  OF  THE  VOICE, 


>-— .  A        RltBTd.  tempo.    L,  ifi^ 


:-J=3^=li* 


3 


f  » 


t  t 


3 


m^m 


^^1:5: 


— (^- 


-^ 


M^^m 


isa^a 


eat  voce. 


^ 


ffi± 


^ 

-^^- 


-bd 


-^ 


W 


~ey 


*p 


E* 


1  f 


cwllando.  A     ^^ 


^^i^feg^^^g 


§±3^11 


-/CS- 


D.  C. 


i 


"1P- 


iz^ 


-zi^ ^- 


E^^ 


^i 


^.^- 


e*I  race. 


5z-5: 


^V\ 


i 


-6^ 


^ 


-f- 


^- 


r 


EXERCISE  No.   45. 


The  practice  of  this  solfeggio  with  the  accompaniment,  will  advance  the  pupil  in  the  ability  to  read  his  part 
independently,  as  the  instrumental,  is  widely  different  from  the  vocal  part ;  and  especially  will  the  student  derive 
benefit  from  the  practice  of  the  Syncopation  herein  contained. 


Altecro  Moderato.  ^'entnre  lesato. 

— N- 


p M« — s 


:P 


^ 


MARCO  nonnooNi. 


^^3^?:^ 


ii*5: 


z^z 


^ 


=^ 


54 


FOBMATION  AND  CULTIVATION  OF  THE  VOICE. 


^^^^^ 


I 


P p- 


t±:*zji±ziL 


'W- 


P — P-##«-^ 


'fet=^ 


(t 


^=±-i!-±i^: 


± 


q — 0 — ^—0-^-0r 


-m 1-^ l-J- 


i^4=^i^ 


-j^-zi;— 1^ 


-# ^— III ^— *hI 


^    -^  ^ 


„^^ 


g 


ipr 


gg|fe^%^^g=^P^^g=>=fJ^^^ 


z_-t 


-f-^-H-^ — \- 


mia-:; 


-^529'  i 


^-^ 


-H— 1- 


i;:-*it^>5tj 


i^ 


Sit 


3: 


Ji.- 


I 


;?=5: 


•=-—5= 


^ 


^^m^^^ 


:=m 


3:± 


^^- 


1^5?*" 


_-^ ■-#— ^ 


-^= 


^^ 


* 


^ggipipi^iiu^j^^^'Jliii 


'S 


i 


H 


FORMATION  AND  CULTIVATION  OF  THE  VOICR 


55 


U=f^^ 


wi^t-r^if-nfm 


J^^eS 


m 


'^&^M 


i^^4zM~±^MzMi. 


:s=5: 


?^ 


=^^ 


^? — » — f- 


)^=^=p=i^ 


> 


^ 


F=# 


3^^ 


m-      -9-*-m — 0-< 


i^^- 


m 


^ 


3    ^    *3    y^ 


;ftEa:SfSfEE£&-i-!=? 


SSSfctES 


('!^^-^.-^— I— 1-? — f'"!-  -->'  1  I  I — f\  *}  X 


1033 


P^ 


i 


-»-?— -#-— f- 


56 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 
EXERCISE    No.   46. 


Andante  con  moto.    Sempre  I>ecnto. 


V 


S 


P 


^gg^l^Ei^i^^ppI 


■«— « «— «, — \ — *r—*. — , *r'*r 


B^i^=1-S=:i=1=izr^z:jzzi|-ti^=i=*: 


^ 


^^>^^^^f=*^"^gg=^5^5g^ 


:iz<»zit 


liiztii: 


iat 


3r 


^=,=^= 


Cres* 


^ 


S35E?: 


a^^P^ 


pip=p=z=:rf=p 


1^ 


P=?=P= 


:^=P= 


1 


i? 


ii 


i?^=5: 


s^g^a?^^ 


fe 


liSi^ 


I 


-#•—••- 


:2=4: 


-•zzf:^ »—rj 


S 


^r^' 


^ 


\n=i: 


g=L=^S=£^f=^ 


tn-* 


■fl« 


p=r=jg~">{p=p-»- 


tsst  — ^^^^«u— P'- 


# 


» 


Ba 


ees 


^-J 


rr 


^1S§^^^^ 


i^^ 


^ 


-t^-t 


^5=2: 


S=i 


#-  -^ 


'71 


33E£=z=^ 


^ 


FORMATION  AND  CULTIVATION  OF  THE  VOICR 


fcjz==:1^ 


^r     p- 


3^ 


p=#^ 


p-#- 


i^=i 


-^  *?  ^  ?- 


-  -«-         -•-  -«-         -*!■  -4- 


fS!^^ 


1  jTrji 


^ 


JiJ^^3^J^ 


s 


i^^-:g;^^5EgEE^^: 


;gs 


S: 


1=5: 


II 


_^_1»- 


— 0—0- 


0—0- 


I^ZZltlil 


^-T— gEE^TzS^ 


-•--•j 


tf — 0- 


£ 


t 


J«_> — 


:5=it 


^ 


/TN 


St 


gSStf:.^ 


tS 


^^.%=t. 


:2=t 


^E^^^K|^^ 


i^f-t^: 


^5S 


rl       ;       !       I 


/CS 


^:f^:^if=^^lt=y=P=r^P— ^ 


58 


FORMATION  AND  CULTIVATION  OF  THE  YOICB 


^iigSfepfe^^^ii-gitfp^l^^ 


•^  -0-«r      -*h*I^*r -•-      -*--*-        -0-* — d-d ^-9«-     -»•••-    I'll- J — •-«-  -bp^i 


sag 


^ 


ift 


I^^Efefi 


liJ 


!?•*•»  -•*•♦- 


i^EES^t^^ 


ife 


«=£ 


=? 


d ^-M-=-  -t,ij»-:  -^=^-f  ?=f^^=^ 


^P 


M^pEEEj^^3EilEEEEt|^ 


pn:^,rd3: 


^teS 


j-j: 


-^^ '— ^ ■- — • — Oi 

' — li 


;s 


I 


-#— #- 


H 


jL-4. 


•  -*-         ^*»-  **■ 


JJ 


5zz=*: 


-? d 


^^^^jife^l^g^ 


*• 


1 


:?*^«i 


^q 


s 


tr 


S3EE 


tt*: 


^ 


-»f-# 


5i=r^ 


*=^ 


^g 


l^^^^ppg^pites^^^iiiEEE^^^ 


3^-: 


F=P=P= 


I-Jl-    '-       -       -  -       -,       -  *       #       «  9,      «— « -  — 


F-.^-F^=F— P=P=P=P=p: 


r-f-*--r-r-  - 


1^^ 


:^=2=::^ 


FORMATION  AND  CULTIVATION  OF  THE  VOICK. 


59 


p^^^^^g^^S^^^^p^ 


.  J  I  -i-J  «-<-  *  -I—  -*  J  I 


{^. 


Si/ 


^ 


1 


-T--- 


_,._i. 


-r^^ 


/^E 


/OS 


/CN 


/T^ 


i 


:T=:t 


-'?—•- 


-T--T' 


=^P^ 


^ 


Anegro  Brillante. 


i^lfJ^^p 


EXERCISE  No.   47. 

■Ht ! 1*> 


±Jizt 


tint 


eSM^ 


^ 


ge 


r  rr=^ 


^f 


Jf-i-5=i 


4^r^=t 


t 


^ 


.§iiB2: 


g 


?=^-F-r- 


g=ii 


£ 


-y-- 


^Ejl  -^•zJzj^j-i^j.J-^-^ 


S3E=^^^ 


(|rzzj=r=3^{mggJ3E^g^^^ 


^^^ 


r¥^ 


^=t=:5: 


.^g:: 


S 


-^- 


Si^ 


60 


FORMATION  AND  CULTIVATION  OF  THE 'VOICE. 


i^^^P^E^il^^ 


^;::^: 


i|: 


y^^s^^fc 


:^^S^ 


f 
( 


tlZJ^-ZLZl 


a^EE 


S^ 


^-S 


3?.3EdF,f; 


s=3rt 


.an ^_i_^ ^ ■- — I- 

••-     -^  -c^  ij;     -1^- 


ga^pSlpip 


-=) — ^""- 


i^PeE=iil 


^^ 


9* 


a^ 


Itj 


iSi 


^-W 


fc&=R 


^i^^iip^pLg 


=^-] 


^i^^^. 


R 


"-f^ 


^-4 


3^fe 


3^1 


_^>_ 


3 


-• 0 


-0 # 


gi^l^^^^S^^^iiii^P^^iPi 


^=3? 


te^^i^^S^^^^f^Epf^-^? 


-^-#-     -j^ 


'Oil 


:fe3 


iq: 


::ss: 


-o oi- 


W^^^^^^^^^^^^^^^ 


m 


=^=r* 


^ 


FORMATION  AND  CULTIVATION  OP  THE  VOICR 


s 


?==TiC 


n 


?i 


61 

1 


P^^^ 


vl^ 


3=tTIZ±± 


_&   * 


zss: 


-4=^ 


T 


Se^ 


i^e: 


{>-• 


:i±=3^zz* 


il-^ 


aizi^ 


:*±: 


=R^ 


SEiE^t^ 


r  rr- 


i 


SeBipre  legato  e  portando  la  Toce* 
Aodnnle.  .^--"^^^^^^ 


^: 


-^= 0- 


-P #- 


EXERCISE    No.   48. 

-C5 


i^i: 


ii^z: 


-^ 


=3=¥= 


/? 


-5?-^ 


T=t 


fi^=i? 


§ 


^a^Efe^^m 


=¥=^ 


p 


m 


£££ 


fc 


H^^-:^-. 


■^-T-t 


-f-T- 


-?— ?- 


4=f= 


ER 


oi-^ 


^- 


^^^^^^ 


^^i^ 


f 


^ — ?- 


r^ 


5 


d    M- 


'^^f^ 


e?^ 


g 


^ 


-^?-f- 


*zi:?=5 


"^ 


i 


Tut*  ••lo. 


W 


I      i  .     I       .  -= 


Sniaiii 


« 4- 


35 


r — r^r 


62 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


E^g^g&^gEteE 


r^i^pzpiF3=I^=c=nT=:*zj^p:x;^i* 


f5f=ife 


3^ 


fee^a 


^^^?gg 


-?  >f- 


s^ 


155- 


^f?ci^#: 


+-■ [— I- 


^ 


^^^^ 


^= 


f^^ 


^^ 


5—?: 


^^m 


.J 


^4: 


i:^— 


:^:i::=:^s: 


I 
I 


— ^-P- 


SSSr- . 


PTFr'F-iTr 


■■^ 


pziBT^p: 


S 


^§*=-£ 


?r?- 


1     ""^ 
-It;.    ?= 

-1 r — d  . 1 

-.-T e 

1-J -l — J^-i 

' 

-^-^— ^— ^— P— P 

1 1 H— 1 1- 

— F-— p= 

L^ 

:^^^- 

• 

FORMATION  AND  CULTIVATION  OF  THE  VOICE 


63 


e 


f3. 


b^z 


fe^ — ffr^ 


y-^^ffi^ 


'if^i 


S5 


M 


^^^^ 


3 


1=1=?: 


^&P-itr^f§: 


5=3: 


-•-•a 


g^pp|^^,:p^ 


i^iliE 


• — 0- 


W       W- 


^ 


ZfT — =: 


•--a-r 


^H 


:e 


fSf-zS^- 


« — • 


^-1 — ^ — h-t — !-- h=4-^ 


* 


-fO--*- 


^=^&=P^.^ 


=1=1: 


:*tz:i: 


:<=« 


' — ^ 


=a^ 


# — 4- 


0 — 0 


TTwtw^zw 


.inipi^E 


:^ie* 


K?^#:^ 


■m 


3E* 


^*E|_=j^|^^^: 


ttr^ 


i^ 


-»—\-U. 


Hi 


s 


=P=p: 


^^ 


.3-lL 


EE 


64 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


! 


I 


P — f- 


ffL^^^^^^^^m^i^k^^. 


A  piacere. 


SIHJ: 


:::S 


/TN 


/T\ 


Bt:pzpzir,i::?zpzl=} 

-=- — I — )— I — 1 — I — I 


^T\ 


^T\ 


H 1— H 1 1- 


i 


^- 


-^ 0- 


-ed-r 


dol. 


gff^fr^gJPEEEp 


/7\ 


0 


-f-^- 


= 0- 


^=^=1= 


:^^S 


i^iizi 


i]fe|&6 


^0^ 


h- 


-EEit 


E 


^rv 


^m 


^-^-w- 


-^-r- 


-T-y- 


EXEBCI8E    No.    49. 

This  song  is  inserted  for  its  intrinsic  merit,  as  well  as  for  its  suitableness  to  the  design  of  this  work.  The 
practice  of  "  Rejoice  Greatly  "  will  be  found  no  less  valuable  as  a  solfeggio,  than  it  is  fitted  to  form  and  cultivate 
a  taste  for  classical  music. 


g 


.  Allecro. 


fe-y  7~M^^ 


±±M: 


^g^g^^^^^^ 


g^^^=ffl=4J I 


*^_    5L     fr        tr 


&^. 


P— #-^ 


^^^ 


'Site 


I=s 


H  r    ir  ^-£g 


i-pz=i: 


1....     "':■' 


FORMATION  AND  CULTIVATION  OF  THE  VOICK 


65 


i 


Allecra. 


h_CZ^ 


^=^t^ 


s^ 


t 


Re-joice,       re-joice,       re  -  joice  ....  greatly ; 


re  -  joice 


'^^^^^M^ 


S-'Si 


i==ph=~^i 


I 


^§i 


r-pr: 


qrri: 


*={!: 


^ 


£ 


-? — •>  L-l^^P 


0  diiughter  of   Zi  -  on ; 


0  daughter  of 


u^^^^^m^ 


^^^^^m 


±  -T-l  J  p 


m 


iS: 


r^ 


f        t       f 


:^ 


grpz^y^fti-gg 


-L 


Zi  -  on     re-joice, 

-0- 


re-joice, 


re-joice,, 


iz=tcf: 


4^>^ 


i^^-i^ 


N    1  .  t 


tt 


-» •- 


m 


±11, 


-f — ¥i 


,=^i 


^^^s^ 


;3^=f=S^r=^ 


g^E^E^EEEJE^j^ 


^^^SN^^^ 


^ 


SiS 


-^- 


[9] 


.if: 


^ 


66 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


0  daughter  of  Zi-on     re-joice great-ly;     Shout,. 


0 


0-   -o-   -0- 


III/  ^^  -5- 


F^ 


* 


F— ?-b 


J^Sf 


i5^i 


f 


-t^- 


Izl 


^i^^"^ 


^=f 


5^ 


:tc=:^^t 


-^^^-J-? 


daughter  of  Jerusalem : 


Be-hold, 


thy  King  cometh    un  -  to  thee. 


P 


^f^ 


ftefSi^ 


=#^ 


:ii 


-«-         ^ 


^3i^^§5^Epg3^: 


•?-^ 


P'       =i^ 


i^i 


^ 


=^= 


i 


s^^^^ 


^ 


-^- 


er=p=p 


U=iii=:2=t2= 


:t=:?:± 


Be  -  hold,  thy  King  cometh    un  -  to       thee,  cometh  on  -   to     thee. 


35fc 


^^g 


^^^ 


-J-/-i-.. 


^=E 


fc^fflSi 


FORMATION  AND  CULTIVATION  OP  THE  VOICE. 


P 


\ 


-^'^P^m 


H»    is     the 


EiS?^E# 


I^ 


-f — r- 


-^— r 


righ  -----  teous  Saviour, 


V=^ 


F=h=?=^ 


:t^=? 


i:f: 


Aad  he  shall  speak  peace  unto  the  hea  - 


^^^^^^ 


Ja-iVfJ- 


-p — r-f^?-^ 


*:;Ei33^5£Si3 


p 


f 


^^ 


?*: 


E 


isfc 


1K 


^ 


t^ 


p 


\ 


±=£=» 


SE 


ZjV-tv— ?v 


E£ES^^ 


-^9- 


li 


S 


then, 


He    shall  speak  peace, 


lie  shall  speak  peace. 


^3E» 


peace.  He  shall  speak 


i^ 


;,S2- 


p^^^ii^ 


^^^^E^EfE^igEEfe^ 


-T f- 


peace  unto  the  hea then ; 


he    is the     righ 


teous 


68 


FORMATION  AND  CULTIVATION  OF  THE  VOICR 


i 


r 


*: 


q^l^ 


± 


±=ff=t::e 


^={2z:t?: 


i^: 


Sa  -  viour,     And  he  shall  speak, 


^ggggg: 


E 


he  shall  speak  peace, 


^*=Jz^^ 


qrrw-0- 


peace, 


^1^ 


irgE 


^^^-:^^^^ 


i^- 


#= 


*^^te^ 


i 


£ 


-?=t^ 


he  shall  speak  un 


to  the  hea  -  then. 


d 


'^==t 


^ 


TM^ 


iip' 


feEEE^JSE^te^Pg^^gpB^^^ 


S^ 


Re-joice,  re-joice,  re  -  joice greatly; 


E=Ei33g3E  E^±S3: 


^^^^^^ 


Re  -  joice,. 


^ 


ilS^ 


^ 


r^^^^      y     F 


^^i^^ 


I 


J- 


P 


'^^=¥=r=S 


■f     y      J  ^^ 


-f=^ — ^ 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


69 


f-^-r 


^^^ 


^ — ^ 


0  daugh  -  -  ter   of  Zi  -  on ; 


Shout,       0  daughter  of  Je- 


^^=^^ 

j--i— s     -^ 


^-  -#. 


li^^EE^ 


I 


^??3 


=F^ 


-#-r 


1— ^ 


E^ 


It 


v=R 


S^E 


^f:p=p-^-F- 


i 


ru  -  sa-lem ; 


Be-hold  thy  King  cometh  un  -to  thee;  re  -  joice,. 


-^ 


1=t^ 


f=^r 


T^f •-?-# 


rif 


:it5 


:4: 


»  ^     *- 


SiSE 


i 


:p=t: 


:?=i: 


r    I 


^ 


?33==^^ 


shout, 


g--^ 


^i 


3£^^^^^^ 


Ijj^^, — ^ 


i 


shout,  shout,      re-joice greatly; 


m 


— a^ m — ■-« V*- 


a= 


i 


??Ei 


-« — « 


^ 


fes 


i 


^^^f^^ 


f    0 


t 


70 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


Re-joice great-ly,  0  daugh-ter  of     Zi-ou:         Shout,. 


-TT^- 


^ — I — ^ 


-jt^—jtAzr^iUzjt 


^?si 


^^ 


0  daugh-ter  of  Je- 


=^= 


f= 


-^^ •- 


§^=gig 


_^4__* 


g 


3^EE^ 


f  -  ^l»-f-^»-T-^-*-#-/*-»-#-— It 


-^^^ 


s^ 


^ 


feS^ 


~»=M^ 


--±^- 


-3=z^ 


f^^-r- 


:t=: 


gEEEEg.i^gE§ 


/^ 


^=*i: 


^*EE? 


ru-sa-lem :  Behold,  thy  King  cometh  un 


to    thee ;  Behold,  thy  King  cometh  un  -  to 


/TN 


S^- 


=i=E2 


a 


rfs 


ies 


53: 


^^==^^ 


3=S: 


t 


:E 


I 


&=¥= 


thee. 


-WZ'Llt 


j-^J--ff#-^nJ4---J=f->-t-7f 


•  -,-• 


3tt 


^^ 


gs 


;£p»^' 


=i;^: 


^ 


.^__ 


-g-  =p-  -4- 


r 


It 


^^ 


^ 


£Ef 


fo*     tr 


^-0' 


?^^^ 


*s= 


^      ,f_f_f^J     J      r     gj.  -J-   J    J  ^J 


9^2: 


S 


itcit 


jJ^^~   ^    ^    -'     *-»iQj' 


^1 


FOKMATION  AND  CULTIVATION  OF  THE  VOICR 


71 


EXERCISE    No.   60. 


A.^E  M^m^. 


Ijarchett*. 


pp_ 


t 


t4=^t=^. 


^^^^P^ 


^^S^S^^^^ 


^i^fe 


±='?- 


m 


^ 


±zi 


<==?- 


m 


m 


i: 


4=- 


fe. 


:S=± 


?^ 


?^=p: 


-«y — f- 


-rrif 


?    '^^"^       7    ¥- 


^Ff=?E£gE| 


p 


— ^  ■  *  ¥ 


£ 


■^^b^ 


f-fL]l*iaf-_l_if 


i=EEll 


^ 


■^H^Mta 


i^ 


#=F 


^  ri^ 


^^ 


=1= 


* — ^ 


^^a 


4=- 


^M^ib 


:~i 


72 


S 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


s_ 


:f=r 


i 


:^: 


=P-^-^ 


:tc=JJ: 


^=^^ 


:t 


Gra 


ti  -  -  a         pie  -   -  na 


Do  - 


mi  -  nus     te  -   -  -  cum. 


'i 


55^ 


£ 


it 


-^-f- 


if^_jpz__je 


:E 


i 


•?^ 


i — .•-JT^- 


££t^E2^ 


do  -   -   mi  -  -   nus 


te --   cum. 


^^*ii 


-r^— <^— O- 


r^ 


^a 


— -^ — *-. 


^ 


*  *  •• 


?S=' 


:E3=i: 


lizit 


ppj 


i 


«r 


fS- 


:?=*: 


-+- 


J!  i_ a — 


■tZ=t2=t? 


^=^ 


^^^ 


Be-ne  -die 


ta  -  -  tu 


in  mu  -  li  -  -  -  e 


ri 


bus 


^n 


^^ 


.p^ 


33; 


-^— « 


r=« 


P 


pEpg 


^— r 


•zzi: 


^«^ 


^ 


1^^ 


J^ 


-^-^- 


^i 


^ 


i 


;* 


et 


:p: 


#-r- 


:|^ 


Sl^^ 


•^- 


fe 


:i=3 


be  -  ne  -  die  -  -  tus 


frac tus  ventris  tu  -  i 


S^ 


-i— ^ 


Je -   su 


»-pib^ibp^J^ 


:^ 


5^3 


^-f-r 


i 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 
tr  _ 


S 


B 


^^m 


^*- 


73 

i 


Je    ---   su      fructus  ventris  tu-i    Je 

n 


su 


M 


M 


m^- 


Sane ta  Ma  -  -  ri 


:;^-- 


:^=^ 


;t 


;^/?, 


^==p=i'=r 


=P= 


:te=* 


^^g^ 


^: 


Ma 


ter       de  -  -  -  -  i 


-^^^^m 


F=^f--?- 


1 


ra     pro  -  no  -  bis  -  pec-ca  -  to  ri  -bus 


^^^ 


i^ 


S 


E^z!: 


nos 


-  trae 


Sauc 


--^ 


•=F 


42=1 


ta 


sane 


-  -  -    -   ta  Ma 


^l^^Jippe|^^giyp^pP^ 


^       [11] 


-^h^ 


ritizS: 


''QE 


■^ 


H— ZZZ 


TTTl-l- 


74 


FORMATION  AND  CULTIVATION  OF  THE  VOICE 


^ 


^x- 


-r — ^f- 


'-^ 


33^ 


:?3:*za: 


n 


r 

Ma  -  -  -    -   ter  de  -  i 


0    -    ra  pro  - 


^2p: 


:W=i=^4 


-H 1- 


-^— ^-'Hf- 


f: 


-]• ^ 


?•-  -»- 


"^^^3=^=3—^^ 


£ 


I — — h- 


t±EE 


I 


I 


t^^     •     #- 


^=t: 


^^EE 


-/— V- 


I 


p»- 


^ 


:5=: 


fc^S^ 


r=jt=ir 


a=EEESE 


i^ 


:izi: 


^E5JEE] 


i 


^ 


no  -  -  bis  pecca  -to-----   ri 


^=^ 


f-^^-;=£jiEf^- 


-  bus  nunc  et  in     ho  -  ra    mor  -  tis 


nos 


m 


-ft- 


^%^±JL^ 


i=1=:l: 


•zlM: 


:3^ 


*1^ 


is 


3=J 


tr— dc: 


i=fc5=^zt:: 


-:T 


^ 


^ 


#-#- 


tree. 


^E^^^^^Ei^^ 


A  -  -  -  -  -  men,  A 
ir       3 


. .^J^_^ 


EeE 


.EB 


tr 


men,     A 


=P= 


?=:^lj^E|^^:^p£|fc^=^ 


'm^ 


-^-f-r- 


=^-T-^Eh:=:g 


r 


S 


^ 


^=F 


-!— •- 


^zi^S 


-VJ/' 


-^*- 


;g 


men. 


t=^ 


tJ^i:.-^. 


H~#-#-v-i— ^ =-  — f^^-» 


^=^Z^ 


Cres. 


?=^ 


-g-^ 


* 


m 


/TS 


m 


^ 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


75 


EXERCISE    No.   51. 

This  lesson  is  designed  for  practice  on  the  Turn,  and  the  Trill. 


tr 


^.-^ 


H^ 


B53EE53 


\ 


1 


^33 


it-t^tg: 


I T   n 


?^ 


^=i: 


-l-it± 


i^^i^^rT=TF?p 


=^ 


3=:: 


ft- 


^EajHESiffl^i 


m 


^^^m^ 


ft- 


^^ 


d.^ 


saEf^pt 


e^?eJ|^ 


■^_J,J_Jj_ 


M^ 


-S>T- 


T= 


^;^ 


piigi 


fe- 


^^^^^1^^ 


tr 


■^m-- 


-jf — - 


^ 


li 


t^=t 


3^3^^ 


?=<■=£ 


^^Pl 


-jf— - 


s^ 


f : 

y     I    y 


^y  Ft^ 


#T 


1^ 


ii 


<»• 


E^a^iSS^t^s 


^ 


^-^..M: 


wittu 


i^^^^M 


ii 


^^^^ 


=f=}H — y" 


I 


P 


m 


■^5 


^^=33 


i^^ifrrii 


3=1—^ 


^gSf 


76 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


EXERCISE    No.    52. 


.       ,  Adaslo.  I  t  A^  .  .  :=— At » '_  A 


Inserted  by  permission  of  John  A.  Scokcia. 


?_-5- 


Le    di  -  ro 


che    va  -  go        sei 


le      di  -  -    ro 


che   tu      Pa  -  -  do  -  ri 


'^m 


e       che 


= Tl— r: 

—f — ^— # — *f- 


fep^_^^g=^=:^^^ 


^ 


:%= 


:f=P=^i 


^ 


t'a 


g3f 


t 


gE!=t 


:^ 


mi        e      che        t'a -  -  mi  e      che 


t'a  -    mi       io      le 


di  - 


3 


rf- 


-•— ^— J-— H-— -4— q — ^ 


f" 


i^ 


3E 


!§iS=S 


^^' 


s 


-^- 


:£tz^ 


In    quel     sen    co'  det  -  ti  mie i  des  -  te  -  ro     no  -  vel  - 11  ar 


.Jzi|i;-ilrr|z:jz=|: 


feESEL!^£ 


S=S 


^: 


-mj      n  ^ ^ z — ir 


do 


Pfc 


i 


tee 


^^^- 
^"~™i 


n 


a^Et 


-^- 


gli  an 


-  ti 


i 


^=fz 


chi      am  -  mor 


|§p=g25 


-+- 


-F- — -t-r-r-f-^ 


' 


ze  -  -  -  -    ro      e 


I 


5/ 


0- 
gli  an 


FORMATION  AND  CULTIVATION  OF  THE  VOICR 


77 


^^^^^^^^^^^^^^^^^^N 


ti  —  chi     am  -  mor  —  ze 


—  ro 


le         di  -  -  -  ro 


le  di 


r« 


le        di  - 


m 


a^^ 


^ 


-^ 


9iS 


^^^rt 


r^ 


^ 


^—Ti — #- 


:b=ff 


A»  » 


jfcub: 


i^ 


£EEgE^ 


^^^^y^^=^E3 


3^«E3 


ro 


m 


che    va  -  go 


sei 


le      di 


-   ro 


che     tu      I'a do  -  ri 


_ 1 1 

- — 0 — • ^- 


i^i 


e      che 


^ — ji — g: 


:?=f 


^^^=# 


-4- #- 


^^=£ 


=t^ 


=3? 


^ 


Af     I 


Al       I 


^^^^S^^^SI 


t'a 


:=2: 


( 


:^^>: 


mi         e    che      t'a mi        e    che   t'a  -  -  mi  io      le 


-  ao 


e  che 


■: 


.^13. 


^ 


gg^^ 


s— • 


^ 


t: 


t'a  -  mi      io        le         di  -  -  ro 


e 


ri^E:^=i^E$S 


3= 


cs= 


£ 


;[i 


i 


^3^ 


che  t'a  -  -  mi  io        le         di  -  -  ro. 

-t^ r 


E^^^P 


=? 


^- 


^t 


^ 


5=1 


T 


^-^  -r       j3: 


•I— # 


a 


i9= 


^i 


^" 


78 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


EXERCISE   No.    53, 


Aimwlo. 


Inserted  by  permission  of  Joiix  A,  Scoscia. 


/^ 


£ 


^m 


i^=i^ 


i 


i^^= 


Ti  -  mor    mi      scac  -  cia 


f 


:^: 


m 


mi   chia  -  ma  a  -  mo    -    re        ques  -  to      m'ag 


.ft 


/TV 


m^E^iid 


l^t^- 


— I- 


sf 


m^M^ 


& 


7=t 


Si 


^3"^g^^^^£^l^^p^=S^gip^p 


ghiaccia         quel  m'ar-de  il        co    -  re  e  I'uno    e 


Pi 


I'al  -  tro    pe-nar 


^=z 


j^ 


i 


^ 


3= 


:g3Ep: 


mi       fa. 


1 


%-=rr 


-5— «- 


Cres. 


giJ 


*3 

,11 — i 


^^. 


;? 


¥ 


2i 


■=#: 


i 


Y 


:f--: 


^ 


EEfe 


iE3 


E        I'alma 


:-.=&. 


^S=, 


-CS- 


=^_i. 


pro    -  va       den  -    tro     al  mio  pet  -  -  to  dop  -    -  pio  tor 


-  pio 


^^- 


4= 


rf^ 


5^ 


S 


^ 


^^ 


ii:*: 


4: 


js- 


#^^ 


g 


£ 


|EE± 


-?=?-J 


-  -   men-to      con  -  tra  -  rio  af  -  fet  -  to  e  un  sol    mo-men  -  to         e  un  sol  mo-men  -  to 


pa-ce  non 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


n 


.*=^^5FE= 


^^E^^ 


'^^^-^^^m^ 


Wz 


ha    no  no  no    no   non  ha        e   Talma      pro    -  va        dop  -  pio     tor    -    men  -  to  e  iin  sol  mo« 

J*  ^     -  ^ 


J: 


-^^, 


sf 


sfet 


±^ T-f j 


i 


2^; 


trf: 


;«^^ 


13 


f— -K-fe 


ISt^M^i^^p 


B3 


-  -  men-to 


^^?^^0!E5E 


fc 


pa-ce    non     ha        e  Talma      pro  -  va       con  -  tra-rio  af  -  fet    -    to         ennsolmo* 


^ 


:3=! 


t 


=2: 


-•— # 


-1 — I- 


^ 


-I — I — I- 


« 


:x=4'- 


i 


f^ 


t 


fe^ 


^ — tr 


^E^^^^-g--J4^iz^zi^f-r-^f-^--i-^^ 


men-to 


^ 


pa  -  ce       non     ha       no    no     no     no    no      pa 

J 1^ 


^ 


± 


'^3^^ 


s 


i 


■i^r^T^- 


^ 


80 


FORMATION  AND  CULTIVATION  OF  THE  YOICE. 
EXERCISE    No.    54. 


^    Alleyro. 


^$^m 


# 


Non  piu  andrai, 
Moti   en  -  fant 


far  -  fal-lo    -  -  -  ne  a  -  mo  -  ro              so, 
plu3      de  ten  -  -  -  dres    fleu-j^-ret tes 


2#i^ 


'^m^ 


ilE 


:^ 


^i=i^^^iJ 


m 


f= 


i^ 


notte  e  - 
plus  de 


:|._ 


m 


-^ 


T^ 


^^=1^ 


gior  -  no   d'in-tor  -  no     gi  -  ran  -  -  -  do, 
jeux       de    chan-son    d'a  -  mou  -  ret tes 


* 


^Si 


s^f 


V— 1 


3S^ 


-»^ 


-?=t 


del  -le       bel  -  le    tur-bando  il  ri    -  po  -  so,     nar-ci 
plus  de         vi-ves   et  jeu  -  nes  sou  -  bret  -  tes      que  tu 


ia£E=^=TJyi=fi=r 


1^ 


■4-^ 


=tt=i 


-^—^ 


-#-=- 


'^-W 


m 


r    -  set  -  to,  a-don-ci   -    no    d'a  -  mor 
Tien    -  nes  tou-jours     In  -  ti  -    ner ! 


-0-' 

del-le        bel-le  tur-ban  -  do  il  ri   -  po  -  so,      nar-ci 
plus  de        vi  -  ves  et  jeu  -  nes  sou  -  bret  -  tes      que  tu 


set-to,  a  -   don-ci  -  no     d'a -mor 
vien  -  nes  tou-jours    lu  -  ti  -  ner 


non  piu  av  - 
a  -  dieu 


FORMATION  AND  CULTIVATION  OF  THE  VOICR 


8i 


I 


Init^ 


i 


l'E^E±=M-t. 


-+7 ^7- 


^ 


tz=t? 


rai  ques-ti   bei    pen-na  -  chi   -   -  ni, 
dnnt  le  cha-peau   dii  beau  pa ge 


quel  ca  -  pel  -  lo   le  -  ge-ro  e  gal- 
a  -  dieu   done  son  ga-lant      e  -  qui- 


=pf 


3 


^- 


iN-^ 


Ian  -  te 
-    pa  -  ge ; 


•^- 


-jt-t: 


-0 — 0 


quella  chio    -  ma,  quell'  a  -  ria  bril-lan-te, 
ce  teint  frais      cet-te    fleur      du  bel    a    -  ge 


^S 


quel  ver-mig    -  lio  don-nes  -co  co  - 
au   so  -  leil        vent  bien-tot     se    fan- 


c^i ^'■"''  ' J-H    I    I    rp —  ■      -^    III  ii  I  _i  ■  ■  -Li    I    I J — — 

sS  p  sf 


S^ 


V-- 


^^^^^^^^^^m: 


m 


=|: 


*=ts 


3 


3 


lor, 
ner 


.tZ-I— 


3?^^ 


3:^t 


quel     ver-mig  -  lio  donnesco  co  -  lor 
au        so  -  leil  voni  bien-tot  se  fan-ner 


tf^^ 


non  piu  a-vrai 
plus  de  jeux 


quel   pen-na  - 
plus  d'a  mou- 


•u^o^-^  -i--i-^iz^^^^L2^^f~n^ 


urn 


i^^=3ji 


^- 


chi  -  ni, 
ret  -  tes 


quel  ca  -  pel  -    lo, 
de    fleu-ret  -  tes 


quella   chioma, 
de    sor-net  -  tes 


queir  a  -  -   -  ria  bril- 
et    plus  de   sou- 


^^^ 


7_zr_^^jz^l 


g^  ^  ^Xk-:u^O 


--GM: 


[11] 


I 


82 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


m 


-9 — • 


1^ 


-A 


*r— fr 


-#-r# 


i- 


id: 


tz^-t 


1= 


A-±r- 


I 


Ian  -  te  non  piu  aiidrai    far   fiil-lo  -  ne  a-mo  -  ro  -  -  so, 
bret-tes  mon  en  -  fatit      plus    de  ten    -  dres  fleu-|^ret  -  -  tes 


utr*: 


<f\ 


n^^.^ :t^=rp=— ^ZT^fzrt 


no  d'intor  no    gi  - 

de   chansons     d'a  mou 


s: 


f 


notte  e  gior 
plus    de   jeux 

9—-9~r-- 9-^-9 O-^ 


i^^S=E3EE 


:E 


i 


^P^^ 


'^- 


-j — I 1 — I —  — [- — I        I — [ — ! — I 1 — \- 


fe^^i 


&- 


5 


--X 


:'±^ 


-^ — ^^f*-:=: 


-^:S^- 


rv— \ 


_^^_ 


=|ti=i- 


:5=^ 


ran   -    do  del  -  le   bel-le   tur-bando  il-ri  -  po  -  so,  nar-ci  -  set-to,  a   donci  -  no  d'a-mor, 

ret    -    tes  plus  de   vi  -  ves   et  jeu-nes  sou-bret-tes   que  tu     vien-nes  tou-jours   lu-ti  -  ner  ! 


■w—  -w-       -teii>-  -w- 


del-le 
phis    de  ■ 


i 


^2=S. 


fi_l_- 


-.9^ 


I 


bel-le    tur  ban-do  il-ri  -  po  -  so,     nar-ci  -  setto,      a     don-ci  -  -  no     d'a-mor 
vi-ves     et  jeu-nes  sou  -  bret  -  tes    que    tu    vien  -    nes     tou-jours     lu  -  ti  -  ner 

-9~  -9-   ^^  -^-  -9-  -»-a  -9-  -9-   -•-_ 


St  p 


5=tf^=5-' 


;t 


i! 


-9-       -wh 


^miipiii! 


tra  guerrieri  poai  far  Bacco, 
deux  mous-ta-ches  d'or-don  nan-ce 


j--.^ 


gran  nius-tacchi,  stretto  sac  -  co, 
e   pou-van-tes   des   a  -  mours ; 


schioppo  in 
hstut  sa 


9- 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


83 


i 


T=^=f 


h •■ 


spal  -  la, 
ten  -  te, 


P=?: 


sciabla  al     fian  -  co, 
de  la    pres  -  tan  —  ce 


TT- 


ee 


col  -  lo      den  -  to, 
tourne  a      drit  -  te 


?=? 


^1 


mu  -  so       fran-co, 
qu'on  s'a  -  van  -  ce 


un  gran 
bien  den 


|^^^^^^=,=»^^g^^|E^^ 


I t=:i— F 


S^E 


^m 


^ — p- 


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5 


cas  -  CO,         oun  gran  tur-ban-te        molto  o  -  nor, 
pei  -  nes        pent  de    fi  -  nan  -  ce,  de  I'hon-neur 


po-co  con-tan  ---te,  po---co   con 

en   re  -  com-pen  —  -se  en  —  --re  -com 


t 


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1 — ti 1 ' 1 — iw«J  ■ 


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s^? 


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i 


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:i=ut 


u  -na 
le-va  - 


tan  -  -  te,        po  -  co        con  -  tan  -  te,  ed   in     ve  -  -  -    ce      del     fan  -  dan go, 

pen  -  -    se         en      r6  -  -  com  -  pen  -  se   an  lieu   de  la      con  -  tre  -  dan se 


il        fan  -  go, 
tam  -  bours 


^=iSI 


! I 1 t L_ 


tiiiU=it^=t?: 


zwiz::: 


fv-N- 


3=3:3I3Ze; 


per  mon-ta-gne,  per   val    -  lo  -  ni, 
au  doux  bruit  de  ces   au  -  -  dades 


0-r-4—0      *■    -^   I  ^ '-    ^ — 


-1 — 1—4^ 


t=^ 


p^^^M^m^ 


84 


FORMATION  AND  CULTIVATION  OF  THE  VOICR 


^ 


-^ — ^ — ^ — J — ^ — ^ — i^ — ^-F 


con     le     ne  -  vi     ei     sol  -  lio  -  ni  -  al   con  -  cer  -  to     di  trom  -  bo  -  ni,    di   bom-bar  -  de,    di   can  - 
si  -  ni  -  rent  les  mous-que  -  ta  -  des  les     pe  -  tards  et     les    gre    -  na  -  des    les    ron-  fla-  des    |^.can  -  non 


-•_ 


ii; 


i 


±=*: 


^ 


■^=f 


£ 


;$: 


i 


-t: 


no-ni,  che  le  palle  in  tutti  i       tuo -ni,    a  -  I'o  -  rec-chia  fan-fis    -  chiar 
na  des,  ra  vis-san  -  tes     se    -  re    -  na  -  des  pour   Tor  -oil  -  le  -  des  pan  -  -  dours 


non  pm  av- 
a  -  dieu- 


3E 


rai 
done 


:?EM=f-i 


*— # 


:H 


Fl^ 


0—0- 


quei  penna  chini 
fleur  du  bel  a  -  ge 


non  pm  avrai 
a-dieu  done 


quel  ca-pel-lo, 
le  pill  ma-ge 


iiil 


non  piu  av- 
a-dieu 


^'^'^0 


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done 


V L-. 


:?=it 


15=11: 


Et 


quella  chio-ma 
I'e  qui  pa   -  ge 


_^ 


iS[^^fei^igii 


non  piu  avrai 
a-dieu   done 


§t; 


:0:iA.:TJ.i_a:i^,jTS: 


quell'  a-ria  bril-lante,  non  piu  an- 
a  -  dieu      le  beau  pa  -ge  mon-en 


f^i 


fi—^-T 


^  -^  i^nx 


^ 


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FORMATION  AND  CULTIVATION  OF  THE  VOICE 


85 


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t-i  I     [^^j 


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atzi 


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i-=±=:h-l 


drai,      far  -  fallone      a  -  mo  -  ro  -  -  so, 
fant      plus    de   ten  -  dres  fleu  -  ret    -    tes 


notte  e  gior    -  no   d'in-tor-no    gi  -  ran    -    do, 
plus  de  jeux        de    chansons  d'a-mou-ret  -  -  tes 


d*el-le 
plus  de 


S 


EEESEJ 


^-*-#- 


p=F=- 


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a 


m 


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bel-le  turbando  il  ri  -  po-  so,     naroi    -    setto,  a-don-oi  -  no  d'a  mor, 
vi-ves  et  jeu-nes  sou  -bret-te    que  tu      viennes  tou-jours  hi  -  ti  -  ner 


del-le    bel  -  le  turbando  il  ri 
plus  de   vi  -  ves  et  jeu-nes  sou- 


{ 


E.^M|I^^:^JE«^ 


^^^^ 


-0- 


it=: 


£ 


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m 


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-  po  -  80,     nar  -  ci  -    set  -  to  a  -  don-ei  -  -  no    d'a  -  mor. 

-  bret  -  tes     que   tu      vien    -  nes     tou-jours      lu  -  ti  -  ner 


P 


I 


-«-A 


-^- 


Che  -  ru  -  bino,  al  -  la   vit 
Ch6  -  ru  -  bin  marche  a     la 


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3! 


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to    -  ria ! 
gloi  -  re 


al  -  la      glo-ria    mi  -  li  -  tar ! 
vole   au      feu  sans  t'e  -  ton  -  ner 


j-i- 


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Che  -  ru  -  bi  -  no,  al  -  la 
des      lau-riers       de         la  |S 


vit 
vie 


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FORSIATION  AND  CULTIVATION  OF  THE  VOICE. 


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to  -  ria !  al    -    la  glo  - 

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ria   mi 
te     coil 


li  -  tar. 
ron  -  ner 


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Is 


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FORMATION  AND  CULTIVATION  OF  THE  VOICE. 
EXERCISE    No.    55. 

i;\^E[Y   DO    THE   ]S'A.TIO:NrS. 


67 


pifi^taS^i^SSisS 


Jf^^^^  I 


&£=f=f=f=P 


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It: 


Why 


do         the 


&p. 


ifif^fi^sm^m^jf^ftmi^^^i^ 


'p^zHr-' — ^^^ — ^ — ■* — F-i-p-*r— -! — I 


J — -ki 


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1 


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na  - 


tions        so        fu  -  riously  rage      to    -  ge    -  ther,      why 


do        the        peo    -   plo  i 


88 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


m 


r — r — \- 


-1 


It: 


JEEEE^EP 


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'^Mm 


ma  -  gine        a        vain  thing? 


Why        do  the  na  -  -  -  tions    rage. 


EEE± 


so  fu  -  rious-lj    to 


#— »— ! — I — I — I —  -ftS— • — • 


^m^ 


-    ge  -  -  ther, 


Why  do  the  peo-ple 


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p^^^ggg?^rtf^PfflS?^^^g 


-  ma 


gine     a         vain     thing? 


F^J^^t^^^^iS^icl^^^iC^^^^^H 


w=w~w~w 


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^|^g:j^P=.^-|gj:j^:^EJEaEg 


FORMATION  AND  CULTIVATION  OF  THE  VOICE. 


89 


^ 


^  m-  ^ 


ig^ 


m 


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gine  a  vain    thing? 


'^^^^mM' 


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A      *  -»- 


-#-#- 


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^ h 


^Eg3^g^^^ 


Why  do         the        na  -  tions 


so         fu  -  riously  rage       to    -  geth  -  er, 


and 


^i"r?^=F3^^^§^^^^^^^^^^^^^^ 


L^ 


rz::p=iz=zii 


why  do         the        peo-ple,  and 

'^    I  -W-W- 1  -#H^  I  -#-1  ji  IT -#- 1  -#!  I  — ^— ^-^-— — 


do      the     people 


ifffiS- 


ifZ^^SEEEi: 


« — 0- 


^^=fr- 


rmr\iE^^^. 


^wi^^ 


m 


0f0-r0~-Ppl=WW 


i^-y- 


i^E 


±* 


-    ma  -  -  -  gme    a 


vain      thing  ? 

rLoU 


why  do 


the  na  -  tions      rage 


]Jj» !?i  y|?!    ^S  ^  E±a  c==  t±a  ^=i  B  B  Is 


;^ 


90 


FORMATION  AND  CULTira^TION  OF  THE  VOICE. 


.^ Bi^iJ 1 ! 1 ki«   ^ ^mm^ 1 1 ^1"^ i^ *- 


tp: 


:?=±~?=5=? 


_?z^_x 


so  furiously  to- 


i: 


•  —•—•—•- 


— I 1 h- 


-•— *: 


in 


:ES: 


W=W—W=W^ 


\ — I — 


^___ 


P=?: 


nr-p: 


W-WUft 


^=^ 


=U: 


ge-ther,         so        fu-rious-ly  to  -  geth  -    -  er, 


And  why 


do 


the 


-• • » 9 ^ ^ ,« ^- 

-r—\—^ 1 ! !         '.         r- 


-» (9- 


^: 


,=^^i^^£Ei 


^:t 


^iZZ 


peo  -  pie 


ma 


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gine  a  vain  thing? 


#-# — «-*-• — «-«-« — O-9-0 — »^^0-a — *-•-• — »-»-»— B-a-m — -^^  '  '  '    JTlTi^    ^"Mi    HH—t-  t 


_« tf_ 


i^=^^=s^ 


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n-^—JT. 


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±— itzizz:        L*      U 


ma 


gme    a     vain 


thins? 


And 


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JEEJESEEJ^E^f^PP 


FORMATION  AND  CDlTIVATION  OF  THE  VOICR 


91 


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_j 1 -I 1 1' 1' — -I— t—     !         i         i         I         i         I 1- 


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ji=iM=M=M=i^-. 


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The 


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f-i^r^i^^E?Ej^^^d^ 


I     I 


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^•^•^^'^■^'0^-^-»^^'^^^^^  ^  ^■^  ^S^S^^S^'^^S^. 


,^iS9U 


kings    of  the  earth   rise       up, 


and  the      ru  -  lers  take  counsel  to  -  geth  -  er,  take 


-:1=iP«=^=ntri=  i-dzriii^-5HS3=:  :i!EBEM=it=i^=i!zii|-:  ^-rfr&M^ 


iziM^tztJtz* 


*=tES^i^^E£5 


92 


rORlSIATION  AND  CULTIVATION  OF  THE  VOICE. 


#^^-.^ 


Sg? 


-lit- 


■^-+--1 — F-h- •--■h-h-h- h- h- r- 


^gSSigr^JSSt^SSrSii 


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coun 

n   n 


sel. 


take 


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ma  ea  ^  ^  ^  bSa  ED    hhh  h^  tt=  ^-^-h    h^  ^^  i  "'  f  i  fi  ^ 


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— ^~^ — * — * — 


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itp=^ 


t 


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:5=i.rzk 


coua sel 


to  -  ge  -  ther, 


'=it=^p^ 


:a= 


against  the   Lord,  and  a  -  gainst his  a 

T       t:  t:       :S:       :S:    -S^^l       H     r^- 


«r_^i«s_^L_ 


i — -1 — I — I — I — 4fr--i — I — h — ^--i— H — I — i J  -J — t— 9—9-0-  \ 


Q-  I    i— < 

&zizztz: 


z^zz-iizip: 


:ti=t: 


-f -r  -  • 


i9zf^-::=:zgg:4£^:;'fE£.^gJ£z^+g^ 


-  noi,nt 


j:f^fzr,^rzL*^r=^gzfzlzr:^p:g<gz5fp^it^>r^^^ 


-^ — ^ — f — f — ^ — ( —  , — ^ — 

-^—'iM-'-IfF^-  ?— -  0    -  0-  r-  0'-t 


Biz»Epz:azp=>zfzzpz^zzf|»zq? 


0   0—0-0—0-0- 

■:zzpzf-r-: 


pzzjrr:pz::priprrpz:pzz(rzr 


-t)--0- 


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pzzp: 


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jTzi^zzrzzczzzzr 
ed,         against  the  Lord,      nnd  his  a  -  -  noint 


iS' 


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mCIAeSON'S  mm&l  SIGMNSS  SLLUSTMYS:)  m&LQQ^^. 


A  SELECTED  LIST  OF 

NEW     AND      TALVABM 

SKET  iiysic 

PCBLISHSO  AND  FOR  SALE  BT 


^i^it^i^n. 


Music  sent  to  knr  part  of  the  United  Slates,  (postage  paid,)  on 
receipt  of  tlie  price  annexed  to  the  piece  desired. 


IP(DIE  IPUJIPIILS, 

fSichardson's  Collection  of  Celebrated 
Katioual  and  Operatic  melodies. 

From  the  most  distinguished  Composers;  arranged  for  the 
Piano,  thoroughly  and  carefully  fingered,  after  the  method 
of  the  Modtm  School  for  the  Piano- Forte, — as  taught  hy 
the  most  eminent  Teachers,  and  found  in  all  the  original 
Works  of  Beethoven,  Mendelssohn,  Mozart,  Chopin, 
Czemey,  Liszt,  Thalberg,  Dreyschock,  Henselt,  Mos- 
cheles,  Dohler;  Mason,  Bcrtini,  Iliinten,  ond  other  Com- 
posers and  Pianists  of  celebrity.  Arranged  in  a  very 
simple  form,  and  particularly  adopted  to  pupils  who 
hove  played  from  three  to  nine  months.    In  20  Nos. 

'  No.  1 — Barcarolle,  DoniteUi.    Air  from  Don  Juan,  1 

Mutart.     Kaniska,   Chtrubini.    Song  with-  >  15 

out  Words, - J 

No.  2 — Polka  I'aysanne.    Russian  Nationol  Hymn,  j  ,, 

March  from  Norma,  Bellini, j 

No.  3 — Song  jn  Don  Juan,  Mozart.     Cavatina  from  j 

La  Violette,  Carvfa,     Theme  from  Sonnam-  >  16 

bula,  Bellini, .!■■••) 

No.  4— Don  Juan,  MuzarL    Waltz,  Beelhocen, 16 

No.  5— Heart  Song.     Swiss  Air, 16 

No.  0 — Te  Dcum  Laudnmus.  Romance  from  Joseph, )  ,, 

Mehtil.    Itondino  from  Stradella, J 

No.  7 — Mazurka.     Magic  Flute,  ilozart,  16 

No.  S — Serenade  from  Don  Juan.     Romeo  and  Juliet,  16 

No.  e — Beautiful  Fantasia  on  the  Child  of  the  Kegi-  j  ,, 

mcnt,  Donizetti. j  ^ 

No.  10— Magic  Flute,  J/tanrt.     Song  without  Words.W  ,. 

Anilantn,  Beethorm, )  *° 

No.  11 — Russian  Air.     God  Save  the  King.    Le  Petit  f  ,. 

Tambour, • j  " 

No.  13— >I:ircli    from    Mo5es    in    Egypt,    Hoss'ni.    I  ,. 

Weber's   Last   Waltz.     Air  Irlandais, J  ^* 

No.  13— Stradella  Fantasia,  Flotnw, 15 

No.  14— -Mr   Tvrolien.        Vival   Bacchus,   ilozart.)  ,, 

Thotno  from  Cnrufa, j  ^"' 

No.  15 — March   from    Romeo   and   Jaliet,  DeUini,     i 

Cavatina  frorti  Belisario,  Donizetti, ( 

No.  16 — Duetto,  Mjznrt.     Barcarole,  Auber.     Cava-  j  „. 

tina  from  Sonnambuln.     Rule  Britannia,  •  •  ) 

No.  17 — Andnnto  from  Sonata  P.ithetique,  Beethoven.  \  „- 

Rustic  Song,  AwireL     Norma,  BtBini, j  ^ 

No.  IS— Air  fro:n  Don  Juan.     Aria  from  the  Pirate,  j  ,- 

Rondino  from  Bclisario,  J  '° 

No.  19 — Air   I'opulair  Allemand.       Rondino  from  > 

Nachilagc.-.         Der    Freischntz    Fantasia.  >  26 

Zampa,  IlerM, ) 

No.  20 — Charming  little  Fantasia  on  Locrczia  Borgia,  25 

MX    EAST    ABTD    FROGRESSIVX:    PTECES, 
BY   A.  CROISEZ. 

roB  PUPILS  WHO  HAVE  PLATED  THREE  OB  SIX  VOSTHS. 

Highly  Recommended. 

No.] — Barcarolle,   16 

No.  2 — Cemtileni, 16 

No.  8 — Melodie  Allemande, 15 

No.  4 —  Rondoletio, 16 

No.  6 — Cavatina    16 

Ko.  e— La  F6m  des  Pigodw,  » 


•^m,  jpujipiiLSo 

CHILDREH'S  FESTIVAL,,  HT  I.E  CARPENTIER 

Recommended  to  very  young  Pvpih. 

No.  1— Polka,  20 

No.  2— Schottische, 20 

No.  8— Polka-Mazurka, 13 

No.  4— Waltz,  20 

No.  5 — Galop, 20 

No.  6 — Quadrille,  25 

DELICACIES    OF    THE   ITALIAIT    OPERA,   SIX 
GRACEFUL.  BIELK>I>IE8,  DY  BlIRGaiULLiEK. 

For  players  of  from  tix  to  twche  monihi'  experience. 

No.  1— March  from  Norma,  25 

No.  2 — Polacca  from  Bianca  e  Fernando, 25 

No.  8 — Fantaisia  from  Beatrice  di  Tenda, 26 

No.  4 — Capriccio  from  La  Stranicro, •  •  .25 

No.  6— Cavatina  from  Montecchi  e  Capnletti, 26 

No.  6 — Bolero  on  the  Cavatina  of  The  Pirate, 25 

THE  FOI.IX>WING  AVILI.   BE  FOITITD  EXCEL,- 
I^ENT  L.ESSOJIS  FOR  TOVNO  Pi;PII.S. 

They  art  fuO  of  melody. 

Trifles,— Two  little  Rondos.     B.  Lemouu, 38 

Twenty-fonr  little  Progressive    Lessons,   (3  Nos.) 

Uunten,  each,  BO 

Flowers  of  Hair,  (3  books.)    BwgmuUer, each,  63 

Kncoursging    l^ieces    for    the    Young,    (3    Nos.) 

BurgmuUer,  each,  20 

lE^fTUIDSSo 

Twentr-five   Etiides,  lOp.   45,)   in  8  books. 

St'rphm  IhUfr, each,  75 

Tlier-e  r  elebratrd  Ktu<1e«  arc  In  the  ittvU  of  the  Moilcni  bchool 
of  pUylntr  the  Flano-Forte.  The  onljr  correct  e<tiUoa  U  pub* 
Itshcd  by  us.    rit'Aso  inquire  for  Ulchardcon's  edition. 

Grande  Etude,  in  F  sharp.     Oirl  Mayer^ 50 

This  £la<Te  has  been  played  by  the  author,  at  his  Concerts  In 
Europe,  wiih  great  succeu. 

Octnve  Stiidv.     Ottl  £vtr$. 60 

An  excellent  Study  for  acquiring  a  finished  ityle  of  octave 
playing. 

Tremolo  Etude.     J.  F.  Petri, 88 

A  rerr  Interesting  composition.  Dedicated  to  Wm.  Mason, 
thePUolaU 

THBEE  VEBT  CBAMD  AND  DBILLIAET  COBFOSTTtOSS. 

La  Capricense.    IT.  ifiton,  25 

La  Sicilienne,  Tarantella.     Carl  Mayer, 88 

Tarantella  Calabraise.    n.  IMolff, 38 


Six  celebrated  Koctnmes,  (not  difficult,)  -  •  •  -John  FUld. 

No.  l,in  Eflat, 26 

No.  2,  in  C  minor,  26 

No.  3,  in  A  flat,    88 

No.  4,  in  A  major,  88 

No.  u,  in  B  flat 26 

No.  6,  in  F  major,   88 

Erening  BSverie.    A.  XidUock, •• 8» 


Les  Adicux  de  Varsovie,  Impromptu.    A  Dreychock,  ■  -39 

A  splendid  plec«  for  practice. 

Romance.     A.  Kielbhrk,   38 

Duke  of  Reichstadfs  Waltz  with  Variatkins.  J.  F.  Petri,  75 

V  ery  brlUlant,  and  not  difficult. 
Sehncucht  am  Meen-.      HV//»if r», T't 

This  pioce  Is  played  by  Wm.  MasoK,  at  lUs  Cooevrts,  with 
great  suucctf. 

Bijoux  k  la  Sontag.     Aluschelet,   63 

A  braiKlful  Fantasia.    l^cviiMd  and  flnyered  by  ttie  author,  fvr 
the  pul>ll.bvr. 

Romance  sans  PomlcSj    Sprenger, 88 

Ainiti^  pour  Amititi.      irin.  Matun, ?* 

Berceuse,  (Op.  67. )     F.  Chopn, Zi 

Two  Polnnai«c«,  (Op.  26.)     F.  Ch'-pi", '5 

Two  beautiful  compositions,  but  dllUcult. 
Air  Vari<<.     Hmdcl, 88 

A  most  ctianniriK  composition,  and  pinyrd  with  much  Juccua 
by  Sliss  W.  CtAL'ss,  at  her  Cui(cert»  In  London  ajd  i'arla. 

Lucia  de  Lammermoor,  Fantasia.     C  IV»», 75 

Grand,  and  not  dldlcult 

Gazelle  Impromptu.     IK  Kniger, 60 

La  Ilarpe  Kolienne,  Rfivorie.      W.  Knu/er, 60 

A  very  fine  piece  to  bear,  If  well  pived.    It  Is  somawhat 
dIfficulL 

Chanson  d' Amour.    Jule$  Ei/ghanl 38 

Zum  Wintermahrchen.     A.  hrry$<hmk,    • 60 

Rertsed  and  flnjferrd  Ity  the  author,  espres'ly  for  the  patf. 
llsher;  as  played  by  Wm.  Maauk,  at  his  Concerts. 

The  Swallow  ami  the  Priwner.     A.  Cmitrz, 38 

A  very  fasclnaihi;  and  nut  diffictiU  composition. 
Minuet,  by  .Mozart,  nrrnnped  fur  the  Pimiobv  Rhtilhi'jr,..SO 

riared'by  Mr.  Battsb,  at  his  Concerts,  with  uKat  succ«a8t 
notdutlcult. 
Imitation  of  the  Banjo.      11'.  A'.  B"tchrhlrr. 26 

A  perfect  Imitation  of  the  Banjo  upon  the  I'iano. 
La.Inven«e.     C  F.  Sihuster,    30 

Brilliant  and  pretty. 
La  Danse  des  Nulades.    J.  Egghard, 40 

\eTf  pleasing. 
Capriccio  Brillnnt.     E.  Thorltrnte, 60 

A  very  flue  piece  and  worth  U-amiug. 
Rondoletto  (from  Wm.  Till).     IK.  LtUz, 25 


ron  ri.v:(o  sulo. 

Mendelssohn's  Two- Part  Snng^,  arranged  bjr  OUo  DrtuL 

No.  1— I  would  that  my  U>se, so 

No.  2 — Passage-Bird's  'Farewell, 13 

No.  8 — Greeting, 20 

No.  4 — Autumn  Song, 26 

No.  6 — Oh,  wert  thou  in  the  co'd  blast, 13 

No.  6 — The  May  HrIU  and  the  Flowers, 25 

These  admirably  arranged  Son{;s  are  rerv  InatmctlTe,  and  not 
difficult.    Tbcy  should  lay  upon  every  riano. 


ThefolUncing  are  highly  recommendei  ty  the  Crilic*. 

Coronation  March.     F.  Kielbhrk.   25 

Funeral   March,   (with  lithograph  of  J.   Cbickerlng,) 

W.  R.  Babcock,  76 

Grand  March  do  Bmvonre.     tf.  .Ridkarrfstm,   26 

Marche  Militaire.     G.   W.  Stralton, 26 

Binghamton  March.     J.  H.  Janet,    26 

Print*'  March,  {tnm  Atbalia-J  F.  Mmftlmim,;' M 


RiGSiMsoN's  mmmki  sighjihss  ilws^mteb  mkimm, 


•63 


Six  progressive  Sonatines  (Op.  36  and  38),  in  two  books. 

M.  Ckmenii, each,  60 

Those  who  have  played  nine  months,  can  learn  these  with 
facility.  They  are  much  mlmlred.  This  Is  the  only  correct  edi- 
tion, with  the  original  Ongerlug,  published  In  this  country. 

Twelve  Sonatas  by  tbe  same  nutlior, M.  Clementi. 

No.  1,  in  A, 50 

No.  2,  in  G,  , 75 

No.  3,  in  C,  75 

No.  4,  in  G,  40 

No.  6,  in  C,   75 

No.  6,  i  n  B  flat, 60 

No.  7,  in  D,   75 

No.  8,  in  1),  40 

No.  9,  in  G  minor,   75 

No.  10,  in  H  minor, 60 

No.  II,  in  F  sharp  minor, 40 

No.  12,  in  F,    60 

The  abOTC  will  be  found  valuable  Composlttons. 

The  following  is  a  I'st  of  excrl'ml  OmposilUmi,  well  aiapted 
fvr  Ltssons,  or  topUiyfor  amv»emtnt. 

Itcmembranco  of  Nantucket.     A.  Kielblx-t, 38 

The  Prettiest  Fiower.     Carl  Tfiuse, 88 

Carrie  liobcrta.     C.  E.  Snrr/en'., 25 

Much  admired;  notdlfHcult. 
Tlio  Sniin.Is  f.f  tlio  Alps.     jE.  Fritzsih, 38 

Very  sweet  and  pleasing. 
Adolfina.     A'.  Frilzsek, 60 

Quite  brilliant. 

Souvenir  (!e  Niilmnf.     ./.  F.  Ptiri, 60 

A  delicious  set  of  Waltzes. 
Flowers  of  the  Soutli.     J.  F,  Petri,   

A  set  of  brilliant  and  intcreslliiK  Waltzes. 
Love's  Dream  Waltzes.     C.  L.  Kofhler,    63 

The  riihlr«her  will  w.irr«nt  the  above  set  of  Waltzes  to  please. 
They  arc  full  of  rich  sounds. 

Fanny  Fern  Waltz.     A.  IT.  Fremel, 2-5 

Recommended  to  those  who  desire  a  good  Waltz  that  is  not 
difficult. 

Valse  de  Bravonre.      IPm.  Mown, 75 

Brilliant  and  elTectlve. 

Flenr  de  Salon.    Ascher, 50 

Queen's  Musketeers.     Burffmuller, 15 

Kroll's  Ballklangii  Waltzes,  arranged  by  Bergnuinn, 50 

The  Three  Sisters,  (3  Waltzes,) Le  Carpentier. 

No.  1 — Clara,    25 

No.  2 — Aurelia, 25 

No.  3 — Antonia,    25 

Adonis  Redowa.     A.  Gmkel, 38 

A  spirited  and  effective  Uedowa,  sincerely  recommended. 
Three  Brilliant  Waltzes,  (Op.  84,  No.  1.)    F.  Chopin,-. .50 

(Op.  34,  No.  2.) " 38 

Three  Waltzes,  (Op.  64,) F.  Chopin. 

No.  1,  in  I)  flat  major, 25 

No.  2,  in  C  sharp  minor, 38 

No.  3,  in  A  flit  major, 38 

All  I  he  mn^lc  frtim  Chopin  Is  Invaluable  to  every  Piano-player, 
and  it  will  be  found  Interesting  and  good. 

In  the  Dark      E.  T.  Bnlhmn. 25 

A  very  beaatlful  plfcc  Indeed,  and  not  difficult  for  one  who  has 
played  a  year. 

JuliT,  {Val'ie  brillante.)     11  Lemoinr, 40 

Easy,  melodious,  and  very  beautiful. 

!P(D12Lfi^3  AHID  (liTni!tnDiai:iI.ILISSo 

77ie  fuHoicing  art  recommended  by  our  bett  musical  critics. 

Sea  Nymph  I'olka.    A.  C.  B., 25 

Jlallie  Polka.      IK  S.  FooU, 25 

Easy  and  brilliant. 

Eliza.      T.  miller, 38 

Very  brllliant- 

Grnziella.     A.  Croisez,    25 

Spharen.     MulUnhauer, 38 

Belles  of  Bo-ton.     Oirl  Ilause, 25 

Ix»uisen.     Btrf/mann, 20 

Ko«ine.     /^  Oirpentier, 38 

Three  Pretty  Polkas, Le  Carpentier. 

No.  1 — Oiirika, 25 

No.  2 — Carabine,   26 

No.  3 — Marictto, 25 

Two  ea»y  Fav.irite  Polkas.    BurgmuUer, 25 

Polka.     Otto  Dresel, 30 

Jervinins.     Srtppe,  25 

Spring  Flowers.     Leibeck, 25 

Annen.    A.  T.  Lanner, 15 

P.lue  Kve».     Brrgmnnn, 15 

Wavelet.     E.  T  B'lblicin. 38 

Banjo  Quadrille.,  (from  Negro  Melodies,) 38 

Carli.tta.      T  f)ijhkr, 25 

Marie.     T.  DohUr, 25 

LoU.     P.  IlearUm, 26 

Very  tuj  and  ezeeedingly  ellecUve. 


©(DIfiBio 

Mr.  Kichardson  has  concluded  an  engagement  with  the 
distinguished  composer,  G.  1'.  Hoot,  (more  widely  known 
as  "WuuzKL,")  author  of //««;  X»t«,  and  other  popular 
pieces,  who  will  compose  a  series  of  Songs,  particularly 
adapted  to  the  public  taste.  The  following  six  are  just 
published. 

Glad  to  get  Home, 25 

The  Honeysuckle  Glen, 25 

Rosalie  the  Prairie  Flower, 25 

The  Church  within  the  Wood, 25 

All  Together  again, 25 

I'rond  world,  good  bye  !  Pm  going  home, 25 

The  above  are  simple,  Instructive,  and  exceedingly  Ijcautiful. 
TiiiitD   Book  of  25   Lessons  in   Singing,  for  the 
Middle  Registers  of  the  Voice,  (Op.  10,)  J.  Omcnne,  2.00 
The  only  complete  and  correct  edition  to  be  found  In  this  coun- 
try.   They  are  very  proKressivo  and  instructive,  and  indispensa- 
ble to  ail  Teachers  of  Kinging. 

My  Dearest  Rose.    J.  L.  Du  Bois, ■. 25 

This  Is  a  simple  Song  of  great  popularity,  and  is  having  a  large 
sale.    It  Is  as  pretty  as  It  Is  simple. 

Would  I  were  still  but  a  Child.     Lortzing, 25 

Bong  of  the  Czar;  for  a  baritone  voice.    One  of  the  best  of 
German  songs. 

Mabel  Ide.     E.  T.  Baltlwin, 25 

A  beautiful  Ballad,  and  admired  by  everybody ;  quite  easy. 

0  Moonlight  deep  and  tender.     L.  II.  Southard, 25 

A  very  pleasing  Ballad. 

Sleep,  oh  Sh'ep,  my  gentle  Lovo.    J.  H.  Ilinton, 25 

Full  of  melody. 

The  Mignon  Song.     F.  Schubert, 25 

On  the  Sea.     /'.  Schubert, 25 

These  two  beautiful  Songs  are  recommended  and  taught  by 
Prof.  A,  Krelsmann. 

The  Trumpeter,  a  fine  baritone  Song.     W.  Speier,    38 

0  Salutaris.     //.  Millard, 38 

For  religious  service ;  very  Impressive. 

Serenade.     T.  S.  Lloyd, 25 

Ave  Maria.     R.  Franz, 25 

A  Song  full  of  religious  feeling. 
Like  Music  o'er  the  Waters  stealing.     C.  C.  Convene,  ■  .25 

A  very  pleasing  melody,  with  good  accompaniment. 
Oh,  Whisper  what  thou  Feelest.     B.  Richards, 26 

A  popular  sentimental  Song. 

1  have  found  Thee,  but  too  Late !     C.  C.  Converse, 25 

Full  of  melody. 

The  Kansas  Home.     Marion  Dix  Sullivan, 25 

Very  simple  and  pleasing. 

There's  a  Star  that  is  beaming  for  Me.  Ilerherl  Du  Lnnq,  25 
Sung  by  Mrs.  Wood,  with  great  applause, at  the  Boston  Theatre. 

To  the  loved  ones  at  Home.     J.  Pierpont, 25 

Simple,  melodious,  and  pretty.    Very  popular. 

Ever  Speak  in  Tones  of  Kindness.  C.  C.  Converse,  ...  .38 
A  Song  that  will  please  all. 

The  Parting  Song.     Josephine  Lang, 25 

A  very  tKautiful  Song  for  an  alto  voice. 
The  Fountain      L.  II.  Southard, 25 

A  Song  of  decided  picrlt,  deserving  a  place  upon  every  Piano. 
Deacon  Foster  and  the  Conl  Dealer.    Anthracite  Carbon,  25 

A  local  Comic  Song,  sparkling  with  wit  and  good  "  hits." 
The  Orphan  of  the  Tvrol.    J.  M.  Deerns. 25 

One  of  the  prettiest  Songs  out. 
Come,  said  .lesiis' sacred  Voice.     T.  Spencer  Lloyd, 38 

A  very  Impressive  religious  Solo,  with  Quartette. 
Romance  from  Wra.  Tell.    Rossini, 25 

I  did  not  know  Thee  then  as  now.     S.  Sawtell,    25 

A  Song  that  Is  destined  to  great  popularity. 
Cot  with  the  Sanded  Floor.     Wm.  Mason,    25 

A  very  pleasing  melody   with  charming  accompaniment  and 
excellent  words. 


The  Fisher's  Canzonette.      T  Rynn, 26 

Simple  and  pretty;  has  been  suii(r  by  Mas.  Wjjitwoeth.  at 
several  Concerts,  with  much  applause.  "iwouia,  n 

Those  Evening  Bells.     7'.  Ryun, 26 

A  very  pleasing  Song. 

Would  I  were  with  Thee.     F.  N.  Crouch, 88 

Singtome,  Norah.  "  "    50 

These  two  Soiic«  were  compose  d  by  the  auUior  of  "  Kathleen 
JUavounicen,"  and  arc  destined  to  become  qulie  as  popular. 

No  More.     L.  II.  Simthanl, 35 

This  Song  is  highly  retoniracndcd. 

Apparition.     C.  F  llmhrrtr. 50 

Ballad  dramatised  for  u  baritone,  from  the  lierjnaii,  hy  Lesslng. 

Six  German  Songs, Mendelssohn. 

No.  1 — Far  Awav, 13 

No.  2— The  Jhxin, 13 

No.  3 — The  Nun, J3 

No.  4 — The  Favorite  Spot, 25 

Little  Gipsey  Jane.     Clinr,  33 

A  charming  and  simple  little  Song, 

Homeward  Bound, 38 

Fully  deserving  Its  great  popularity. 

The  little  Star.     A.   W.  Frenzel, 25 

This  is  a  pcrlect  gem. 

Christine,  [  adore  Thee!     A.  W.  Frenzel, 25 

A  very  sweet  Scotch  Song. 


Memory.     T.  S.  Lhyd, 
Very  beautirul. 


25 

The  Departed  Brother.     A.  P.  )ryman, 25 

Simple  and  plaintive. 

I  heard  thy  Fate  without  a  Tear.     Harrison  Millard,  .  •  -25 
A  most  charming  Ballad. 

Thekla's  Lament.     F.  SImherl, 25 

It  never  comes  afain.     //.  Millard, 25 

Very  sweet  and  simple. 

From    the   day   that  first   I   met   Thee.      (Duett) 

G.   W.  Strntttm, 40 

Absence,  arranged  fn™  the  Italian.     J.  Q.   Welherbee,- .2i 
A  most  exquisite  love  Song. 

My  Soul  to  G"d  m V  Heart  to  Thee.     Clupisson, 25 

Very  beautiful.     ' 

FOU    THE    GUITAU. 

Lady,  wilt  thou  be  Mine  ?    J.  J.  Valer, 25 

©AILOJSo 

L'Assaut,  Grand  Galop  Mililaire.     Chas.  Voss,    60 

Chromatic  Galop.     A.  Kielblutk, ; 38 

Storm  Galop.     Bilse, 38 

RondoMilitaire  on  Stnrmmarsch  Galop.     F.  Beyer,. .  ■  .38 
Very  brilliant  compositions,  and  not  difficult.    They  will  most 
certainly  plcuse  all. 

Four  Jtflznrkn*!,  (Op.  5.)     J.  S(hulhoJ}\ each,  25 

Much  admired  by  everybody;  moderately  easy. 

Giirafilia  Mazurka.     C-  Gartner^ 38 

Mazurka  H?id  Polka.     A.  Iit:netlt, 60 

A  flue  Salon  piece. 

La  belle  Tyrolienne  Polka  Mazurka.   E.  Newmann^ 20 

Kasy  and  bewUchlnb'. 

RICHARDSOIV'S  COI-I-ECTIOIir   OF 

ID^niS^T^S  IP(DIE  IF(Dir31  IEIiiiR[ID§o 

Fugue  on  a  Melody  by  Wobbe.     E.  S.  Cutler, 60 

Overture  to  the  Pilgrims  (Cantata).     C.  C.  Perkins,. .  .\.bO 
Grand  and  effective. 

Mother  and  Daughter,  (in  4  Nos.)    11.  Berlin!, each,  25 

24  SIcIodies,  progressively  arranged,  by  Brunner,  in  5 

books, each,  20 

Pleasures  of  Youth,  or  six  Sonatines A.  Diabelli. 

Very  easy,  progressive,  and  melodious. 

No.  1,  in  C,   40 

No.  2,  in  G,    40 

No.  3,  in  F, 40 

No.  4,  in  D,   40 

No.  6,  in  A,  40 

No.  6,  in  D  minor,   10 

Three  Sonatas, A.  DiabeVi, 

A  little  more  difficult  than  the  above. 

No.  1,  in  F,   60 

No.  2,  in  D,  60 

No.  3,  in  C,    76 

SIXTY-SIX   UTTEBITIDES,   in  the  most  usual  U«jor 

Keys,  for  the  Organ,  Uelodeon,  or  Fiano-Forte. 

By  ,T.  11.  Jokes.     Price  60  cts. 

Very  suitable  for  the  Church,  or  Sabbath  evening  recreation. 
Quite  easy,  but  church-like  and  effective.    Highly  recommended. 


mCSAil320If  S  M-ISSCAL  SICSMGS  ELUSTM?S9  CMM.0SUS. 


THE 


IRIBCHFS,   POLKASi  SQlSSg  ft6i 


30 


BncnANA.N'8  Union  Grand  March,       .        -        .        - 

In  the  key  of  F  major;  quite  easy.  Got  up  in  fine  style,  having  a  perfect 
likeness  of  Hon.  James  Buchanan.  This  March  is  dedicated,  by  special 
permission,  to  the  distinguished  statesman  above-named.  The  music  is 
grand  and  btilliant. 

Fremont's  Great  Republican  March,  ...  30 
In  the  key  of  E  flat  major ;  quite  easy.  This  beautiful  piece  of  music  is 
arranged  from  two  popular  melodies,  and  dedicated,  by  special  permission, 
to  Col.  John  C.  Fremont.  The  title-page  represents  Col.  Fremont  placing 
the  American  flag  upon  the  extreme  summit  of  the  Kocky  Mountains ;  and 
also  bears  a  iwirfcct  likeness  of  the  celebrated  "  Pathfinder,"  done  in  superb 
style.    This  March  is  universally  admired  for  its  melodious  brilliancy. 

We're  Free!  we're  Free!  a  Republican  Campaign  Song. 
Words  by  J.  G.  Whittier,  the  Quaker  poet.     Set  to  music 

by  Karl  Cora,  25 

In  the  key  of  B  flat  major.    Written  in  a  spirited  style,  and  consists  of  a 
solo  and  chorus. 
Who  'll  Follow  !    who  'll  Follow  !  a  Republican  Song. 

Words  by  Miss  Whittier.     Set  to  music  by  Karl  Cora,  25 

In  the  key  of  G  major.    A  very  effective  song  and  chorus. 

Shower  of  Gold  Polka.     Carl  Lorenz,        '  .     '     .  '        ^^ 
In  the  key  of  E  major.    A  brilliant  composition,  not  di6Bcalt ;  it  is  very 
much  liked. 

Twinkling  Star  Polka.    A.  de  Anguera,  -        -        -    25 

In  the  key  of  C  major.    Easy  and  pretty.    Whoever  hears  it  buys  it. 

Banjonet  ScHOTTiscnE.    E.  M.  Edwardy,      -        -        -        25 
In  the  key  of  B  flat  major.    A  very  good  imitation  of  the  Banjo.    Qaite 
simple,  and  much  admired. 

Souvenir  d'Auburndale.     T.  H.  Hintoti,  -        -        -    85 

In  the  key  of  A  flat.  Original  in  style  and  effectjre  in  character.  Not 
difficult.    A  good  piece  to  play  at  a  party. 

Romance.    F.  Moscheles,  -        -        -        -  _      -        -        25 

In  the  key  of  F.  A  very  fine  composition,  and  a  favorite  with  those  who 
appreciate  good  and  classical  music.    Not  difficult. 

Br  THE  Stream  a  Youth  was  sitting.     W.  Fries,       -        25 

In  the  key  of  A  flat  major.    A  charming  Song  j  sweet  and  pleasing. 
I  FEEL  AS  IP  MT  HAND  UPON  THY  HEAD  MUST  REST.     Af.  Haute,  25 
In  the  key  of  G  major.     A  beautiful  Ballad,  and  worthy  the  attention  of 
all  Concert  singers.    Not  difficult. 
Fab  away,  across  the  Sea.    (From  "  La  Traviata.")    Verdi,    25 
In  the  key  of  G  major  j  arranged  for  a  soprano  voice.    This  is  the  real 
gem  of  the  Opera. 
Do   YOU   REALLY   THINK   HE   DID  ?      F.  Heller,  -  -  25 

'  In  the  key  of  B  flat  major.    An  amusing  and  taking  Ballad,  quite  simple. 

!      The  accompaniment  is  almost  a  beautiful  Waltz  in  itself. 

Father  John.     Wurzel,  (  G.  F.  Root,)         ...        -    25 
t        In  the  key  of  F  major.    A  capital  Song,  full  of  melody,  and  is  destined 
to  as  great  popularity  as  his  former  ballads.    The  accompaniment  is  very 
easy  mdeed. 


i^iikiii^ifi^i 


9 


coNsiSTiNO    or 


ftotlbt  mt\  abmiwi  Cnmpsitiflns  for  {\t  ^iano-|ortt, 


No, 


1. —  Simple  History.    H.  Ravina,  ... 

"    2. —  Last  Souvenir,  Poetic  Thoughts.    H.  Ravina, 
"    3. —  The  Melancholy  Song.    Prume  ;  arr.  by  C.  Voss, 
"    4. —  Departure  for  Syria,  Fantasie.    A.  Oroisez, 
"    6.— Mi  Manca  la  Voce.     (Quartette  from  "Moses 
in  Egypt")     G.  A.  Osborne,        ... 
"    6. —  Roses  without  Thorns.     Sophie  Dtdken,     - 
«    7. —  The  Beautiful  Eyes.    /.  O.  Metzger, 
"    8. —  Nocturne.     H.  Ravina,  ..... 

"    9. —  Galop  Bkavoura.     /.  Pascal  Gerville, 
"  10. —  Elegant  Impromptu  on  Pepita's  March.    Th.  Oesten,  35 
"  11. —  Grand  Waltz,  from  the  Prophet.    F.  BurgmulUr,    50 

"  12. —  Oh,   WEBB   I   BUT   THE   LIGHT   OF  THE   MoON. 

Kitcken ;  arranged  by  H.  Cramer,  -        -        45 

The  above  pieces  having  already  become  very  popular  in  Europe,  and  also 
with  many  amateurs  in  this  country,  we  deem  it  only  necessary  to  say  that  they 
are  published  in  handsome  style,  and  are  well  worthy  the  attention  of  all  Piano 
players.  They  may  be  played  by  those  having  had  a  year's  experience  under  a 
good  teacher.  The  publisher  is  confident  that  the  above  set  of  pieces  will  meet 
with  success. 


35 

30 
40 
25 

25 
40 
35 
85 
35 


TWELVE 


OF  CXaLEBRATia}  coiaposiois: 

^  wlUctinn  of  §riUiant  anli  Instratfibt  |ittts  for  ik  lianir. 


No, 

« 


1. — Deux  Noctuknes.    A.  Gutmann,        ... 

2. — Amoub  k  Jesus  Cheist.    /.  Schad, 
"    3. — Au  Gee  des  Flots.    L.  Tonel,  .        .        - 

«    4. — Les  Refrains  du  Lido.    A.  Croisez,     - 
"    5. — La  Fete  des  Condoles.     A.  Croisez, 
"    6. — Indra  de  Flotow.     H.  Cramer,     ... 
«<    7. — Tannhausee  de  Wagner.     H.  Cramer, 
«    8. — GiBALDA  d'Adam.     H.  Cramer,        ... 
"    9. — An  Vedkai  de  Bellini.     H.  Cramer, 
"  10. — Lebewohl  de  Pboch.     H.  Cramer, 

«  11. LiEBEND  GEDENK  iCH  DEM,  DE  Kbebs.    H.  Cramer,  50 

«  12. L'Esclave  du  Harem.     A.  Croisez,        •        -        -    40 

The  above  set  of  pieces  were  selected  with  much  care,  and  are  considered  by 
musicians  to  be  compositions  of  a  very  fascinating  character.  They  are  admired 
by  every  one.  We  can  therefore  recommend  them  with  confidence.  Intende4 
for  players  of  fair  execntion. 


35 
35 
25 

50 
50 
50 
50 
50 
50 
50 


%>i^    -i"^ 

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UNIVERSITY  OF  CAUFORNIA  LIBRARY 


OUilPOSED  AND  COilPlLED  FROii  TilE  WORKS  OF  1111]  JlOSi  r.yJNENT  JIOIlERN  AND  CLASSICAL  AUTHORS  AND  TEACHERS, 
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^^\.     ^  NO.    391    WASHINGTON    STREKT.  "^^<T 


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